Sauce - Issue 34, 3-1-07

On the street 1st Wed every month

Issue #34 03/01/07 - 06/02/07

SATURDAY 6TH

FRIDAY 19TH

THURSDAY 25TH

AUSTRALIA

january gigs 122 YORK STREET LAUNCESTON 6334 7231 WWW.JAMESHOTEL.COM.AU

DAY EVE

SAT 10TH FEB

JANUARY

WEEK ONE.

WEEK TWO.

WEEK THREE.

WEEK FOUR.

WEDNESDAY 3RD 10PM TILL LATE - FREE ENTRY! LATE NIGHT BOOTY CALL WITH DJs MEZ, CHILLI & DAVE WEBBER HAPPY HOUR 10-11PM $2.50 BEER & CHAMPAGNE $5 REDBULL + VODKA

WEDNESDAY 10TH 10PM TILL LATE - FREE ENTRY! LATE NIGHT BOOTY CALL WITH DJs MEZ, CHILLI & DAVE WEBBER HAPPY HOUR 10-11PM $2.50 BEER & CHAMPAGNE $5 REDBULL + VODKA

WEDNESDAY 17TH 10PM TILL LATE - FREE ENTRY! LATE NIGHT BOOTY CALL WITH DJs MEZ, CHILLI & DAVE WEBBER HAPPY HOUR 10-11PM $2.50 BEER & CHAMPAGNE $5 REDBULL + VODKA

WEDNESDAY 24TH 10PM TILL LATE - FREE ENTRY! LATE NIGHT BOOTY CALL WITH DJs MEZ, CHILLI & DAVE WEBBER HAPPY HOUR 10-11PM $2.50 BEER & CHAMPAGNE $5 REDBULL + VODKA

THURSDAY 4TH 8PM TILL LATE - FREE ENTRY! MESH - HOBARTS OLDEST CLUB NIGHT BREAKS & DRUM’N’BASS WITH DJs MEZ, MODAL T & CHILLI

THURSDAY 11TH 8PM TILL LATE - FREE ENTRY! MESH - HOBARTS OLDEST CLUB NIGHT BREAKS & DRUM’N’BASS WITH DJs MEZ & MODAL T + GUESTS

THURSDAY 18TH 8PM TILL LATE - FREE ENTRY! MESH - HOBARTS OLDEST CLUB NIGHT BREAKS & DRUM’N’BASS WITH DJs MEZ & MODAL T + GUESTS

THURSDAY 25TH 8PM TILL LATE - FREE ENTRY! MESH - HOBARTS OLDEST CLUB NIGHT BREAKS & DRUM’N’BASS WITH DJs MEZ & MODAL T + GUESTS

FRIDAY 5TH OPEN FROM 5PM, COME AND CHECK OUT OUR G R EAT WINES & COCKTAILS. 7PM - KO! - CHUNKS OF FUNK WITH RESIDENT DJs MEZ & CHILLI 11PM - BOOGIE - 70s & 80s FUNK! WITH DJs DUNCAN & NICK C + UPSTAIRS FROM 11PM

FRIDAY 12TH OPEN FROM 5PM, COME AND CHECK OUT OUR G R EAT WINES & COCKTAILS. 7PM - KO! - CHUNKS OF FUNK WITH RESIDENT DJs MEZ & CHILLI 11PM - BOOGIE - 70s & 80s FUNK! WITH DJs DUNCAN & NICK C + UPSTAIRS FROM 11PM

FRIDAY 19TH OPEN FROM 5PM, COME AND CHECK OUT OUR NEW WINE & COCKTAIL MENU 7PM - KO! - CHUNKS OF FUNK WITH RESIDENT DJs MEZ & CHILLI 11PM - BOOGIE - 70s & 80s FUNK! WITH DJs DUNCAN & NICK C + UPSTAIRS FROM 11PM

FRIDAY 26TH - AUSTRALIA DAY OPEN FROM 5PM, COME AND CHECK OUT OUR NEW WINE & COCKTAIL MENU 7PM - KO! - CHUNKS OF FUNK WITH RESIDENT DJs MEZ & CHILLI 11PM - BOOGIE - 70s & 80s FUNK! WITH DJs DUNCAN & NICK C

BEN MORRIS

AUSTRALIA DAY

DAVE SEAMAN (UK)

BREAK EVEN - FAT-ASS BREAKS & BEATS WITH ADAM TURNER, MEZ + GUESTS

LA CASA - SEXY VOCAL HOUSE WITH MATT B, TIMO & DJG

LA CASA PRESENTS: KINK WITH GUEST, BEN MORRIS SYDNEY + MATT B, DJG & TIMO. TIX ONLINE AT SYRUPCLUB.COM

+ UPSTAIRS FROM 11PM - DAVE SEAMAN (UK) “THE GODFATHER OF HOUSE” WITH RESIDENT DJs MATT B, GILLIE & DSKO TIX $25 FROM RUFFCUT RECORDS & NOURISH CAFE

SATURDAY 6TH OPEN 9PM, FREE BEFORE 10PM 10PM - TACKYLAND - 70s, 80s, 90s DANCE CLASSICS! WITH BILLY BOB & NAUGHTS + UPSTAIRS 11PM TILL 6AM

SATURDAY 13TH OPEN 9PM, FREE BEFORE 10PM 10PM - TACKYLAND - 70s, 80s, 90s DANCE CLASSICS! WITH ROLLY & BILLY BOB + UPSTAIRS 11PM TILL 6AM

SATURDAY 20TH OPEN 9PM, FREE BEFORE 10PM 10PM - TACKYLAND - 70s, 80s, 90s DANCE CLASSICS! WITH NAUGHTS & BILLY BOB + UPSTAIRS 11PM TILL 6AM

SATURDAY 27TH OPEN 9PM, FREE BEFORE 10PM 10PM - TACKYLAND - 70s, 80s, 90s DANCE CLASSICS! WITH NAUGHTS & BILLY BOB + UPSTAIRS 11PM TILL 6AM

DIRTY F’KING DANCING - THE VERY BEST OF HOUSE, ELECTRO & BREAKS WITH RESIDENT DJs GILLIE, ADAM TURNER, CORNEY & TIMO

DIRTY F’KING DANCING - THE VERY BEST OF HOUSE, ELECTRO & BREAKS WITH RESIDENT DJs GILLIE, ADAM TURNER, KIR & DSKO

DIRTY F’KING DANCING - THE VERY BEST OF HOUSE, ELECTRO & BREAKS WITH RESIDENT DJs GILLIE, ADAM TURNER, MODAL & TIMO

DIRTY F’KING DANCING - THE VERY BEST OF HOUSE, ELECTRO & BREAKS WITH RESIDENT DJs ADAM TURNER, GILLIE DSKO & CORNEY

SEE WWW.SYRUPCLUB.COM FOR DETAILS ON HOW TO BECOME A SYRUP VIP MEMBER.

COMING SOON: PHIL K - SUNDAY 11TH FEB REGATTA DAY EVE DJ YODA (UK) - 16TH FEB KID KENOBI MASON (UK) FUNK D’VOID (SPAIN)

DEP5012/SAU

Cigarette smoke is a toxic, poisonous mix of substances.

And smoking delivers it straight into your body.

australia.gov.au/quitnow

Authorised by The Australian Government, Capital Hill, Canberra

Publisher / Editor David Williams Graphic Design Simon Hancock

shancock@sauceonline.net

Editorial Tom Wilson

twilson@sauceonline.net

Contributors: Chris Rattray, Claire Barker, Ryan Cooke, Ryan Farrington, Ian Murtagh, Nicole Calabria, Felix Blackler, Zadoc, Claire Barker, Patrick Duke.

Deadlines Sauce #35 (Feb 07) Adver tising Booking: 30/01/07 Adver tising Ar twork: 1/2/07 Gig Guide: 1/2/07 Editorial: 1/2/07

TasMusic Showcases

Summer Series Every Sunday 3-6pm @ Irish Murphy’s (LTN)

FREE ENTRY JAN 7th

Address: Po Box 5094, Launceston, Tas, 7250 Phone: 03 6331 0701 Advertising: advertising@sauceonline.net Editorial: editorial@sauceonline.net Opinions expressed in Sauce are not necessarily those of the editor, publisher or staff.

Contents 6-8

Bangers & Mash

9

Hard Boiled / Rock Salt

10-11

Rock Salt

12-13

Gig Guide

14

CD / DVD Reviews

15

Gig Reviews

16

Adrenaline Junkie / Travel Bug

17

Special Feature

19

Games / Digital

20

Ar ts

21

Comedy

22

Streetfashion

PAGE 4

Van Diemen Cruel Like That Nick Warren (Modus)

JAN 14th Nathan Wheldon & The Two Timers The Stoics Ruben Ellenberger

JAN 21st

Dave Adams Band The Velvet Lounge Mick Attard

JAN 28th

Cruel Like That Suppts: TBA

211 Brisbane St Launceston 6331 4440

35 CAMERON ST LAUNCESTON 6331 7222

AU S T R A L I A’ s H I P - H O P G I A N T S ’

N E W P L AT I N U M A L BU M

‘THE HARD ROAD’

HILLTOP HOODS THE HARD ROAD ALSO AVAILABLE

HILLTOP HOODS HILLTOP HOODS LEFT FOOT, THE CALLING RIGHT FOOT

IN STORE NOW AT

A Drum N Bass

RITUAL

BY DAVE WILLIAMS

Considering our first impressions of his DJ handle brought to mind voodoo masks and a dead chicken, we’re glad we were wrong about Sydney’s Ritual. We caught up with him ahead of his drum n bass attack on Hobart’s Halo.

of dealing with older concepts. This is what I love about it. It’s the constant pushing of minds and equipment to take the music further. I’ve always been in to music like that; from jazz to soul, hip hop, reggae, Detroit techno and funk (to name a few).

All the heavy-hitters in these types of genres never stopped pushing the envelope. Add to the fact that DnB artists are willing to take on such a wide variety of other music to draw influence from – this keeps the genre fresh and unique …

“

Kid Kenobi was quoted as saying “Drum n bass moves particularly fast, [and] that’s why DJs like Ritual have been so successful.” What do you think he meant by this?

I guess you kind of have to read the whole quote that this is taken from to get the best understanding but I’d say he’s talking about my massive thirst for music and music knowledge, which is a must for any purveyor of DnB, and thus helps me to be successful in the genre. I’m non-stop – hunting, searching, practicing and sitting in the studio.

World domination musically would be at the top of my list

”

You’re known as a drum n bass DJ. What is it about this particular genre that keeps you drawn to it?

Drum n bass has been a forward-thinking (and all-encompassing) genre of music for as long as I can remember. Whilst certain facets of it remain stagnant (which is always part and parcel of musical evolution in any genre), there is not a week that goes by where you don’t hear fresh ideas or new ways

Getting KINK-y With

BEN MORRIS

BY DAVE WILLIAMS

Rocking dancefloors … and studying psychology. Ben Morris – smarter than your average DJ? An interesting question, and one that we’ve completely ignored in favour of talking about KINK – once merely a Sydney club night, now a state-hopping, CD-releasing exercise in dirty, dirty dance music …

KINK has gone from a single club night at The Art house Hotel in Sydney to nights spanning the country, and releasing CDs – what do you think the public has found so appealing about it?

KINK is always pushing new sounds and artists. We set the standard in Sydney by really giving our clientele something fresh and exciting week-in/week-out, unlike other club brands that just push the same generic rubbish around the country on a regular basis.

“

I would have to kill you

”

How does the name of the night reflect the music played and the atmosphere on the night?

It has a certain type of sleaze to it, I suppose. Some of our guests like Sharam Jey and Oliver Hunterman have played some of the dirtiest music KINK has seen.

What are some of the kinkier things you’ve known of at a night of Kink?

I could tell you, but then I would have to kill you.

What are the features of the CD you’ll be launching at Syrup?

I will be pushing the KINK sound which is very strong on the CD – from twisted minimal to tech and upfront progressive.

What were the guidelines by which you chose the tracks?

I basically come up with about forty of my favourite tunes, then meet with the guys at Ministry and find a happy medium of tracks that both represent KINK and will grab people’s attention in the stores.

To what extent do you have an idea, already, of what you’ll play at Syrup?

No idea yet. Last time played I was impressed by how open-minded the crowd was, so I will try and play loads of new tunes again this time.

Ben Morris plays Syrup on Friday the 19th of January.

PAGE 6

If I didn’t need sleep, then it would be a twentyfour-hour-a-day thing (probably to the detriment of almost every relationship I’ve ever had). It’s hard for someone to “dabble” in DnB, and since I love to eat

up anything to do with it, it makes it easier to stay on top of things.

What meaning, if any, is there behind your handle “Ritual”? To what extent do you have a ritualistic approach to your work?

The handle “Ritual” came from a conversation with a buddy out the back of my place, as I had to come up with a DJ name for when we started Green n’ Jazzy.

I had a gig, so I just needed a name, and “Ritual” came up. I knew I couldn’t use my real name, as no one could ever say it correctly when they read it, and all through school it used to piss me off. So there was no way I was going to let that happen (and it really is not that difficult). I thought Ritual seemed to fit, so I ran with it. We both figured that the concept of someone having a “Ritualistic” experience when they saw me play was the way to go, and I still hope I have that effect on people today.

What are your plans for 2007? What do you hope to achieve as a DJ? This is obviously a tough question. World domination musically would be at the top of my list but in reality it’s the case of a step at a time …

Ritual plays Halo on Friday the 26th of January.

A Sprinkle Of Ash From

ROGUE TRADERS

BY DAVE WILLIAMS

The first thing you notice when talking to James Ash is how energetic he is. One gets the impression that it would take a lot to tire him out – and “a lot” is exactly what he’s been up to. As a founding member of electro-rockers Rogue Traders, he sounds like he’s enjoying finally getting back in the studio after the marathon of national and international tours promoting “Here Come The Drums”. He took a break from work on the new album to chat to me about the upcoming Hub Festival, getting butterflies, and why he wants to put his kids to work as roadies...

So what have you been up to today, apart from interviews?

Well actually, this is the only interview today. Really, for the last couple of months that we’ve been back from the UK, it’s just all been about working on the next record, really Dave. Natalie and I have been working away in the studio here, and we’ve been churning out new songs. [As far as] the new material, we’ve got about fourteen new songs. We’ll aim to have about twenty or thirty, and then choose the ten to twelve best out of that, and that will be our new album. So it’s exciting, to be honest. Because we have been touring so much, and doing so many appearances and things, it’s great just to be hiding away in the studio and doing something lowprofile again. Back in the creative phase again.

“

... A record that I know a lot of people are really going to want to hear...

”

I’m really surprised that you’ve had time to scratch yourself, with the amount of gigging...

Well, we haven’t. But you have to make time for the studio, you know? I love performing, no doubt. But I really love sitting here in the studio, where it’s nice and quiet, with no distractions, just working on new music.

I’ve never had to make an album before that’s had a lot of people’s expectations riding on it, you know? This is a bit of a new experience for us, because “Here Come The Drums” was so successful for us. So it’s a strange experience making a record that I know a lot of people are really going to want to hear.

Do you still get butterflies before you go on stage?

Oh yeah. Absolutely!

Is that nervousness? Adrenaline? Or a bit of both?

Ah...it’s a bit of both. Yeah. There’s been a couple of times when I’ve had virtually no nerves. And when that happens, it’s not normally a good show. So you need that; you need something firing on the inside that says, “Here we go – let’s take this seriously!” I think it’s a good sign; it shows that you’re aware of what you’re about to do, and that you have to make a big effort.

The Hub Festival that you’re playing is a very familyoriented event. I was wondering whether you’ll be bringing your kids down?

That’s not a bad idea. They might still be a bit young for it. But they’d be pretty interested, I reckon. It’s quite cute, because when I’m working on songs, the boys will often come into the studio late in the afternoon and have a little dance around. That’s normally how I tell if a track’s any good. If they come in and start getting into it, then it’s a good sign.

I understand they’re going to be having jumping castles and rides...

Right! Well, my boys aren’t even two yet, so they’re probably still a bit young ... I’m looking forward to when they’re old enough to be our roadies. That’ll be good!

Get them to work, as soon as possible!

In terms of the new music you’ve produced for the new album, how much of it will you be trying out at the Hub Festival?

We’ve got a couple of new songs that we’ve been playing since our national tour, and we’ll continue to play those around the country. [Yawns] A lot of the other new music that we’re working on, we haven’t had a chance to rehearse it with the band yet. But there’ll be two or three new tracks at the festival, for sure.

Have you got some sort of estimation as to when you’ll release? Are you going for a summer release?

For the next album...it’s ready when it’s ready, you know what I mean? That’s what I’m telling the record companies and everyone around me. We’re not going to rush a record out here. It’ll come out when we’re all satisfied that it’s a great record, and we’ve got the songs that we need. But I would imagine that the middle of next year would be a reasonable estimate.

The Rogue Traders play The Hub Festival in Carrick on Australia Day, Friday the 26th of January.

ONELOVE HOBART THURSDAY JANUARY 25 AUSTRALIA DAY EVE featuring

NICK FOLEY

SUPPORTS - WIL.CO, D2M, JIM K & SAMEX

CURLY'S BAR HOBART 112 MURRAY STREET DOORS OPEN 10PM

MORE INFO ONELOVE.COM.AU

PAGE 7

4 STRINGS (HOLLAND)

KLAUS HILL

DAVE SEAMAN (UK)

PAUL ARNOLD (UK)

Behind the name 4 Strings hides 2 musicians, Carlo Resoort and Jan de Vos. The two have known each other since 1986.

Entering The Ring With – KLAUS “HEAVYWEIGHT” HILL“A DJ for the people, always aiming to please the crowd, creating a good vibe through an eclectic choice of no-nonsense energetic music.”

Leeds United devotee, neighbour of Mel B, Billy Corgan look-a-like, Stella McCartney’s birthday DJ, Robbie Williams kebab-eating partner, cofounder of Stress Records, with £1/2 million ear insurance, his name is Dave Seaman.

One of the UK’s most innovative figures, Paul Arnold has blazed a trail through dance music. A founder of Certificate 18, Paul’s dedication to quality and eye for the future needs little dressing up with words. Certificate 18 launched in 1992, which has given birth to top name producers Photek, Klute, Teebee, Digital and Polar. As a promoter and DJ, Paul has already booked and played alongside Derrick May, Plaid, Fabio, Grooverider and James Lavelle.

In 1990 they became interested in dance music, and from that moment on, they started producing their own music. All their spare time was spent in the studio. Throughout the next couple of years not only did their skills expand, but also the amount of equipment in their studio.

With the new tools and experience that they had, they could finally discover which direction they wanted to go in with their musical careers: Carlo decided to stay in the studio while Jan found his passion in mixing and started his DJing career.

Jan met up with Piet Bervoets (Carlos, ROOS and Rank 1). Piet taught him the basics of mixing. After a couple of months, Jan joined a drive-in-show, where he played all kinds of music from R&B, Top 40 to happy hardcore. His skills were improving rapidly, and it was during this time period he noticed that his main interest was in dance music.

After winning a first-place prize in a DJ contest, he was offered his very own residency.

Carlo Resoort started with dance music in 1994, and soon after that he had his first release. Two years later, his new record company was born, “Spinnin’ Records”. Shortly thereafter Carlo signed his first record deal and 4 Strings was born.

Jan, of 4 Strings plays Launceston’s James Hotel on the 6th of January, and Hobart’s Curly’s Bar on the 13th (Be There! ed.)

On the level and on the money. Klaus “Heavyweight” Hill is a bona-fide stalwar t of the London breaks scene.

This guy loves making music, whether in the booth wok-tossing breakbeats to the bass-bin max, or in the studio stir-fryinh bass-lines so heavy they be impossible to lift. Already name-checked by goodfellas Rennie Pilgrem and Meat Katie, Klaus’s sound is a barnyard blend of tough beats, booty wagglin’ groove and inspired darkness.

As par t of 2Sinners (alongside Carl Hovland) he has delvered tracks for labels such as Distinctive, Botchit & Scarper, TCR and Ministry of Sound.

Is he talented? Yes. Opportunistic? Definitely – and just a little bit lucky.

Dave would be the first to admit that last point.

He effectively bagged the editorship of the fledging members magazine Mixmag simply by being their youngest, hippest employee.

But it was Dave who made the company fully aware of the impact of acid house and railroaded them into launching the magazine fully to the public.

Make no mistake; Klaus’ moniker may come from his father’s career as a boxer, but the nature of his music makes him a heavyweight in his own right. Step into the ring and see…

Yes, he was equally lucky to bump into budding production genius Steve Anderson at DMC’s recording studios. But it was the pair’s respective talents gelling that led the turbo fuelled hit ‘Such A Good Feeling’, followed up by a string of successive mixes leading to them becoming the U.K’s first superstar remixers to the likes of Michael Jackson and Sting, to writing and producing for the likes of Kylie Minogue The Pet Shop Boys and Take That.

More recently they have lent their unmistakable sound to bands such as Garbage, Pulp, Placebo and Blur as well as consistently songwriting for various projects.

Klaus “Heavyweight” Hill plays Hobart’s Halo on the Saturday 13th of January.

Superstar Dave Seaman plays Syrup in Hobart on January 26th.

A four year stint at London’s The End club, residencies at Sydney’s Home, Hobar t’s Halo and the Embassy in Townsville alongside a worldwide DJ schedule enables Klaus to issue breakout deliveries that drop brilliantly on the dancefloor.

He established London’s first breakbeat night, Breaking Point, and to this day runs the longest-running breakbeat night in the world.

2003 marked a momentous year for Fat – with celebrations of its fifth bir thday, par ties in Ibiza, Russia and Budapest.

Paul has become an outstanding DJ with an eye for the crowd that comes from holding down a highly successful weekly residency for several years.

Ask anyone about Paul’s ability from Brixton to Brisbane and Barcelona you’ll get one answer: “he rocks it.”

Paul Arnold plays Halo on Saturday the 27th of January.

PHIL K (MELB)

PLUMP DJS (UK)

TIPPER (UK)

BRAND NEW SECOND HAND

In today’s age of electronic music, the rise to stardom is often as fast as the fall into obscurity. Solidarity is hard to come by, but Phil K, a Melbourne native currently living in Greece, has proven that when it comes to DJing, experience, vision, and just plain persistence pays off.

Tipper makes music for sound systems, with a diversity that ranges from bassfuelled electro-breaks, to hip-hop, to intricately programmed downtempo, to full orchestral compositions; music that demands to be played at high volumes to unleash their lethal potential.

Brand New Second Hand is the name of a new unit of DJs who provide a specialist service to venues, promoters and audiences.

His twenty-plus years as a world-class DJ have won him one of the largest cult followings in the EDM community.

Plump DJs (Lee Rous and Andy Gardner) are a popular DJ and producer team of nu skool breaks. On May 21, 2001 they released a two CD mix compilation called “Urban Underground”. In late 2002 they were asked to make another mix for well-known super club Fabric, for their “FabricLive” series of mix CDs. In February 2003, they produced and released the 8th album in the series.

Phil has been labeled as one of, if not the most technically-skilled DJs in the world.

They released their second “Eargasm”, on July 7th 2003.

With a fan base ranging from James Zabiela (touting Phil as his “favorite DJ”) to clubbers from Sri Lanka to Seattle, it’s hard to argue; Phil K has truly left his mark.

It featured collaborations with Gary Numan and Louise Robinson (Formally Rhodes) of Lamb.

Following the release of Eargasm, they established a quarterly night club night of the same name at Fabric in London after the popularity of their “FabricLive” mix compilations.

Another angle of annihilation in Phil’s arsenal is his visual expertise as a DVJ. Phil has a strong relationship with Pioneer as a sponsored representative for the past seven years developing products, modifying equipment, and playing with the toys that mere mortals get their hands on six months to a year later.

artist

album,

On 4th July 2005, they released “Saturday Night Lotion”. It is considered their third artist album, due to the sheer number of original productions included on it.

This position was not achieved by megastardom, but by shocking Pioneer engineers through his ability to abuse their equipment and do things beyond what they were designed to do.

Soon after the release of “Saturday Night Lotion”, they were called upon to preside over the mixing duties of Mixmag’s “Breakbeat Annual 2005” which was to be included in their November issue.

Many features currently available on a wide array of Pioneer Pro DJ equipment is the fruit of this relationship.

They are one of the few breakbeat acts to have songs that have broken through in to more mainstream radio programs.

Phil K is the DJ’s DJ.

In addition to producing, they have toured outside the UK to DJ at breaks events around the world.

And he plays at Syrup Sunday 11th Feb.

Plump DJs play Halo on January 10th.

PAGE 8

With a musical background in classical training, and listing influences from drum n bass to hiphop and electronica, Tipper has created his own brand of devastating dancefloor bombs and afterclub ear-teasers. He is admired for being “streaks ahead”, and his “expertly crafted” productions are dubbed as being “frightening yet refreshing – if it doesn’t move you, check for a pulse.”

Tipper has also been heavily experimenting with surround sound and the possibilities of taking sound to new levels. After many hours of tweaking, Tipper completed the album “Surrounded”. Mixed in a 5.1 studio in Los Angeles, he created a whole new listening experience, with melting melodies, intricate programming, and sounds that circle you in a teasing and sometimes disorienting manner.

Not surprisingly this unique and effective sound is in high demand. Tipper has remixed a host of artists including such emissaries as Leftfield, Grooverider, S.I. Futures, mu-ziq, Headrillaz, and the seminal Africa Bambaata. He has released nine singles and two albums through Fuel, Higher Ground and Sony; he has also written for the Renault Laguna and Board X TV advertising campaigns.

Brand New Second Hand spins the kind of discs you’re likely to spin at home before a night out. Upbeat, inspiring and danceable; but it’s NOT “Dance Music”.

Brand New Second Hand are more likely to play Tom Jones than they are Tom Novy, but mixed in with Tom Jones could also be reggae, dancehall, funk, soul, bastard pop, AfroBeat, 80s pop, “Indie” hits, electroclash, rock and roll, punk, new wave, disco, hip-hop, electrofunk, discopunk or Bollywood.

It’s beat music for a discerning audience.

The four core members of Brand New Second Hand are Prince Boom (Alex Tassell), Fade-In Fade-Out (Myf Briggs), DJ 1984 (Keith Mason) and DJ BTC (Ben Crothers).

Each has their own take on music to dance to that isn’t dance music, and each has an extensive background in music and music promotions.

You may have seen one of the unit at either Twin Tribes, The Free Festival or The Falls Festival.

As a DJ/performer his prestigious talents are well-respected throughout the breaks scene and beyond.

Also their combined experience has seen them suppor t many touring acts including Combat Wombat, Toy Death, Blackalicious, Spoonbill, Morganics and Microphones.

Tipper plays Hobart’s Halo on the 20th of January.

Brand New Second Hand play Curly’s Bar in Hobart on the 12th and 19th of January.

Raise The Goblet Of Rock For

TABERAH

BY TOM WILSON

These days, it’s a style of metal played by few, but inspiring to many; for all its theatrics and (let’s face it) borderline silliness, the influence of power metal is an undercurrent felt through every facet of heavy music. Just ask Hobart’s Taberah, who – in a few short years – have managed to channel the essence of the power sound into a live show that (trust me) has to be seen to be believed. I spoke to drummer Tom Brockman ahead of Taberah’s February show.

What are some of the influences that have shaped Taberah to its present sound?

Well, most of our influence comes from classic metal bands along the lines of Iron Maiden, Judas Priest, Slayer, Helloween and such, as well as more hard rock bands like AC/DC and Black Sabbath.

The majority of heavy metal that is being produced these days is kind of shit in my opinion (but everyone is free to have their own thoughts and views). So we try to keep our sound more towards the “traditional” style of metal that we all enjoy.

When I saw you guys at the Saloon last month, I definitely picked up a Maiden vibe. To what extent is that true of Taberah?

[Laughs] Yeah. Maiden are gods in our eyes. They pretty much gave birth to the brand of metal that we are playing, so we do take a lot of influence from them with a lot of solos and twin guitar attacks. And sometimes we have found ourselves [sharing] similar lyrical themes.

How popular do you see power metal in the Tasmanian metal scene? To what extent does it attract a different audience to other genres, such as death and grind?

I’d have to say not very, but it’s growing. I’m pretty sure we are the only band on the Tassie metal scene playing what we are playing, but we are getting good responses from crowds, and our popularity is slowly growing.

As far as attracting a different audience, we mostly play alongside death metal bands, so the audience is the same. We have seen the odd “true metalhead”

at our gigs, but I think the Tasmanian metal followers are pretty open to different things such as Taberah.

For much of its existence, the band didn’t have a name. How did you settle on “Taberah”, and what does it mean?

Well, we started playing together in high school and didn’t think much of it, so we didn’t really need a name!

But the name came from somewhere in the Bible.

One day Jono came up to me at school and said our name was “Taberah”, so I just went along with it. It means “burning” in Hebrew, but in the Bible it was a place in the wilderness of Paran, where the “fire of the Lord” consumed the murmuring Israelites…apparently.

“

The t ru e me t a l f i re of t h e Lo rd b u rn s br ig h t l y … !

”

To what extent do you think that meaning reflects the band?

The true metal fire of the Lord burns brightly and gives us the power to achieve trans-dimensional greatness! [Laughs] Nah, I don’t know; it just sounds tough and looks cool.

How big a role does the band play in your life? What does each of you do outside of it?

It plays a fairly big part for all of us. We all have a strong passion for music and a big chunk of our life is consumed by it.

None of us have jobs except for our bass player Sam, so when we aren’t playing, writing, practicing or performing music, we just sit at home wishing we were playing, writing, practicing or performing music!

What releases does Taberah have out at the moment?

What’s in the pipeline?

Well, just last month we brought out a demo entitled “Exordium”, which features nine tracks that we painfully recorded over October and November.

That can be purchased for $5 through emailing us [taberah_metal@hotmail.com] where we will arrange some type of transaction, or at our shows.

If Taberah had to make a New Year’s Resolution for 2007, what do you think it would be?

Probably just to keeping improving in all areas – be it our performance, individual skill level or songwriting. And, just keep trying to make the best out of our music, and hopefully, one day, get somewhere with it. That would be good. Also, to be nicer to our bass player.

It’s not in shops or anything, as we only have, like, twenty-five left or something. Check out our Myspace for details and some songs from the demo [www.myspace.com/ taberahmetal].

Taberah play Hobart’s Trout on February 24th with Shackles and The Wizar’d.

Around the middle of the year we are planning to hit the studio and record an EP with a couple of songs off “Exordium” recorded better, and a few new songs.

We are going to save like crazy and go all-out with this one as well, so it should be damn good.

What’s the plan for the next few months?

Well, we will be taking January off, as our drummer Tom will be going away, and then the next show we play is on February 24th at the Trout Bar in North Hobart, with Sydney “Deathrashin’ Slut Metal” band Shackles and Tassie doom band The Wizar’d.

So that should be an awesome night. Apart from that, we will just be writing new songs, playing a few shows and just keeping on doing what we are doing.

Gigs & Slippery-Dips With

PAUL GREENE

BY TOM WILSON

Never mind his achievements as a folk/ rock musician or a track & field star; if there’s one thing I’ve learned about Paul Greene, it’s that he’s prouder about being a dad than playing gigs or running really fast. Ahead of a Tasmanian visit promoting his current LP “Reset”, he spoke to me from the Woodford Folk Festival.

did a lot of the stuff for “Hirst & Greene”. It does take a lot of energy just to be on the go, doing gigs and traveling. And I do a lot of it myself; I haven’t got people handing me towels as I walk off-stage or anything. But having a kid just changes you in all kinds of ways. I tend to spend a lot more time on swings and slippery-dips instead of pubs. When we used to have a couple of hours’ break, the first thing that would come to mind would be to go to the pub and have a drink. But now it’s more, “find a park and play on the swings”.

What plans do you have to follow up “Reset”?

I’ll just have to wait and see; I’m not going to be able to do anything for now. I’m always writing; always doing new stuff. I write a lot in sound-checks, and I’ve probably done about a hundred gigs in the last six months; that’s a lot of sound-checks to come up with ideas.

So do you still have fun on slippery-dips?

To me, it’s the best excuse to be a kid, having a kid!

[Laughs] Lilly insists that I go on the slippery-dips with her; she gets to push me on the swings. It’s the best excuse to sit on the beach and make sandcastles!

When [Lilly] went off to do something else, I’d still be sitting there with my sandcastles! [Laughs] It’s very liberating!

Is that to say that people sitting in the audience, waiting for you to begin, might actually be hearing sneak previews of your next album?

Yeah, absolutely. [Laughter is heard in the background] Where are you at the moment? I can hear people.

I’m at the Woodford Folk Festival; I’m sitting amongst a cloud of bubbles. About four people just came by blowing bubbles. I’m in the kids’ section, as well; there’s face-painting and clowns running around. It’s fantastic! [Laughs] I’m having a ball!

Speaking of kids, you’re both a touring artist and a parent. How did the birth of Lilly affect your ability to travel and play gigs?

It did slow me down for about a year; that’s when I

You’re heading down to Tassie this month. Where are you playing?

The schedule’s been a bit too hectic to memorise.

Which is great. Last time I was there, though, my gigs were cancelled, so I had to cancel the whole tour.

Why? I don’t know. All I know is that one of my friends turned up to one of the gigs that was cancelled…and there were strippers! So I got bumped by “Ms. Stripper Woman-Power” or whatever they were. But who am I to say what people’s priorities should be?

[Laughs] Paul Greene plays Hobart’s Republic Bar on the 17th of January & Launceston’s James Hotel on the 19th.

PAGE 9

The World Is In A State Of

In The Business Of Hip-Hop With

ARRESTED DEVELOPMENT

PEGZ

BY DAVE WILLIAMS

BY RYAN FARRINGTON

look at the community pages to feel my vibe.

Arrested Development’s music has a positive spin; promoting values which are uplifting for people. It seems that that’s quite unusual now, in terms of the bulk of the whole hip-hop genre. To what extent do you feel like a bit of a square peg in a round hole at times?

We feel like that a lot of times, to be honest; just being us. Touring around, doing hip-hop shows here and there, we tend to feel like the odd-manout a lot of times. But the truth is; when we’re around our fans, it’s crazy. They reaffirm what we’re all about, and they go nuts. To be at an

“

I know we’re having an impact

”

Arrested Development show is just so electric; that’s what makes us realise that we’re definitely not on the wrong track, even though a lot of times we’re in certain places where we feel like the oddman-out.

While Tupac, Snoop Dogg, Dre and NWA forged the gangsta rap genre, the focus of Arrested Development was a stark contrast in style, but still dealt with serious issues by promoting positive messages, and, ultimately, a way out. I was lucky enough to speak directly with Speech on a recent promotional tour of Australia.

To what extent does the name “Arrested Development” refer to the state or condition of humanity?

Really, it’s talking about how the state humanity is in, is a state of arrested development. We felt like, “We’re going to do music, because we love this thing.” But we also felt like we needed to do something about this state. So, all of our music is basically dedicated to eradicating and erasing that craziness, you know what I’m saying?

Like the redneck, lynching-type of craziness?

That, among other things. Even craziness in our own black community, too. But yes; that kind of craziness is one of the things that has plagued the black community for so long.

When you talk about craziness in the black community, would you be talking about idolising gangsters and thugs?

Idolising pimp culture, drug culture… Idolising the disrespect of black women in our community; making them out to be products instead of humans.

Dissing little kids who are trying to get an education in their community, and telling them that it’s cool to be dumb. All of these things.

Do you think you’re having an impact?

I know we’re having an impact.

How do you know that?

For a fact! We talk to people all the time – we get feedback. You can go to our website right now and

When I was listening to you on Triple J this morning, I heard you say that you had to pay Prince $100,000 for using the sample “Tennessee”. Why pay at all? If samples are such a tiny percentage of a song, why pay for copyright?

Well I personally agree with you. I feel like there’s always been a need for laws that limit what people can charge when you sample. So, in other words, there should be some kind of rate; so if you sample this much, this is how much you’re generally going to pay.

It’s like that already in the music business. If you cover somebody’s song, it’s only a certain amount that you’ve gotta pay them. There’s no wild wild west kind of tactics, where people are taking all your money. With sampling, it’s not like that.

Do you think paying the hundred grand was worth it for “Tennessee”?

Yeah, it was. That record has done a lot for our career; it’s been a good record. It’s one of those things. Would I have done it if I had known how much [it would cost] ahead of time? No. I wouldn’t have paid a hundred thousand.

But by the time we got hit with a hundred thousand, the record was already number three on the pop charts; we were selling a million copies.

So it was relative, you know?

Since “The Last Time” came out, have you been pleased with the pickup and the reception of it?

We’re pleased with the growth, you know what I’m saying? It’s starting off. So we know that it’s catching momentum. People are starting to feel where it’s coming from.

How would you say it compares with what you’ve done before?

Well we don’t really compare it that way. We really look at whether people have connected with it. And in that sense, it’s getting crazy respect.

What about Arrested Development touring Australia together?

Man, we’re looking forward to some hot stuff in the beginning of the year. We’re getting some offers, and we’re working out the contract stuff, but there should be some pretty big opportunities for us here in the first quarter of next year.

Arrested Development’s new album, “Since The Last Time”, is available now.

e076 d i Gu UARrY0

JANbe g m i G ece Fri Sat Thurs Fri Sat Sun Wed Fri Sat

5/1 6/1 11/1 12/1 13/1 14/1 17/1 19/1 20/1

Thurs Fri

25/1 26/1

Sat Sun Wed

27/1 28/1 31/1

D

Simon Russel Guilty as charged $3 cover 10pm True Live, Supp. Loose Caboose $15 pre-sale/$18 door 10pm Sunas $2 cover 9pm Unleash The Nugget $6 pre-sale/$8 door 10pm That 1 Guy (USA), Supp. Scientists of Modern Music $10 pre-sale/$12 door 10pm The Locals (Sydney) $3 cover 9pm Paul Green $3 cover 9pm Sugartrain $3 cover 10pm Curse of Dialect plus Crixus, Cryteria, McTempest plus Snez mega $10 cover 10pm Kobya (African Reggae) $5/3 concession 9pm AUSTRALIA DAY - Live Music Dub:Plate (Drum & Bass) $20/17 concession, BBQ inc. 12 noon - 1 am Pegz with Bonez, epc Oratic & Paddles $20 cover 10pm Ellamore $2 cover 9pm Holly Throsby plus Dan Kelly $15 pre-sale/$18 door 9pm

www.republicbar.com PAGE 10

299 Elizabeth St North Hobart Ph: 6234 6954

Not only is Pegz the director and innovative force behind Obese and Zenith Records, he is a passionate story teller to complete the package. Pegz (formally known as MC Pegasus) has been mastering his craft for over a decade now. He recently spoke to SAUCE’s own MC, Ryan Farrington AKA Mynse on the business behind the music.

You’ve seen the scene grow as an artist and a CEO, and with the Hoods’ great success, Australia seems to have developed its own individual market, on a wide scale. But as far as the spirit of Oz hip-hop goes, do you think the basement studios and hand-to-hand tape-selling fifteen years ago was the heyday of hip-hop?

No, definitely not. There wasn’t a heyday back then; there wasn’t even a scene really. There was maybe ten decent groups in the whole country; right now, I’d say we’ve got about a hundred. No, we’re definitely at the heyday now.

Is it unusual for you to head out to shows and watch as a fan these days?

Not really. I still enjoy music a lot, and whenever I can get out and see an international act, or someone that I’ve grown up listening to, I’m just stoked.

By some clever artist choices, and pushing the artists that you have on Obese, you’ve been a big part of constructing the public and the industry’s interest in hip-hop. How far do you hope to expand on what you’ve already done?

Well we’re at a pretty comfortable spot at the moment, I guess. And I’m extremely consumed by what we have at the moment. I’m not really looking to have ten Hilltop Hoods on the label; nothing huge like that. Basically just keep releasing quality music. That’s the principal we abide by, I guess.

We’d like to see some more venues come to the table when it comes to national tours for the artists. We’d like to see some of these festivals really backing some of the big Australian hiphop artists. But otherwise I’m pretty happy with the way things are going; I’m pretty content with just cruising along at the pace we’re going at the moment. We’re evolving every year.

Artists like Def Wish Cast etc; all the pioneers of the culture are still making records after fifteenplus years. The fact that Oz hip-hop is getting

airplay at all is nothing to grumble about, but it’s a shame that these artists get little or no play compared to a lot of the newcomers … … For sure … … Do you think it’s the whole “out with the old, in with the new” behavior by the media? Or is it just that the newer artists are the ones pushing the limit?

I think you’ve got to understand the demographics of the people who are buying CDs, really. The majority [of buyers] are between fifteen to twentyfive; basically, when people like Def Wish Cast and Reason were really relevant, these people may have been ten years old. There’s going to be a bit of an age and generation gap. But Def Wish Cast released an album that’s been really well-received.

Reason’s still doing things. Those artists don’t seem to be bitter at all about not being at the forefront these days. They can rest assured that we’ve all acknowledged them, and recognised them as being the pioneers of the scene.

Can you tell us a bit about “Zenith” and how that all came about?

Zenith is a vinyl press implant that we got about a year and a half ago now. It’s good to be able to press and manufacture our own vinyl; do a little bit more vinyl for each artist, and really have a more hands-on approach to that process. But when it comes down to it, it’s a bit of a struggle doing vinyl in this country; there’s not a lot of people who have it as a priority these days.

Being an MC is mostly feeding your own needs, but running a label is predominantly feeding other people’s needs. Do you see yourself as an MC first and a label-runner second? Or does business always come first?

Oh dude, I’ve been an artist – or a rapper, or whatever – for over sixteen years now; playing around with writing rhymes, and thinking of myself as an MC. But I’m slowly realising that the responsibility of being a CEO is starting to take priority. I have another record out next year, but I’m not planning on releasing anything after that for a little while, just to focus on the business a little bit more. I think it does sometimes create a few issues with artists, wondering if the CEO’s taking opportunities off their plate … I’m happy to step back and focus on the business a bit more next year. But as long as the job gets done, I guess everyone should be pretty happy.

In a rare show, Pegz hits Hobart’s Republic Bar on Saturday January 27th with DJ Bonez, Mdusa & Dameza, EPC, Oratoric and Paddles.

TRUE LIVE

Melbourne-based True Live are a unique ensemble that cross boundaries of genre and style while engaging audiences with songs of passion and meaning. With performances and recordings of musical and lyrical depth and a line-up consisting of a three-piece string section (cello, violin, double-bass), percussion, keyboards and vocals, the group create a contemporary, organic sound that could only be described as monstrous.

Drawing on the sounds and performance ideals of hip-hop and jungle (though frequently delving into rhythms of African, Armenian, and Cuban heritage), the ensemble create a framework in which they insert artistic ideals of jazz and classical music. Solos and freestyles are true improvisations created live for the moment for which they exist. The string section sets up crescendos and weaves harmonies and melodies over broken beats and heavyweight jazz chord structures while RHyNO MC poetically dances on everything from contemporary philosophy to the need we have to just bounce around. It’s beautifully hardcore.

Led by singer/rapper/songwriter/producer RHyNO who, after years of searching, has found himself a niche somewhere between song writing, beats, orchestras and jazz. The group’s personnel list incorporates some of the best musicians Melbourne has to offer. All members have completed conservatorium studies in their instruments and have developed careers around their respective talents.

In 2006 they released their first LP, “The Shape Of It”. So far they have performed as part of Meredith, Queenscliff, Apollo Bay, Livid, and St Kilda Music festivals in 2004, the Big Day Out, Falls, Southbound, Meredith, Apollo Bay and Woodford festivals in 2005/2006. If past performance is any indication, crowds can look forward to packed live performances in which the sets extend beyond the two and a half hour mark.

True Live play Hobart’s Republic Bar on January 6th.

We’ll Put Money On

THE CURRENCY

BY TOM WILSON

A folk-punk supergroup that draws upon Australia’s dark colonial past, The Currency could well be the only band in Australia that can be appreciated by as many history professors as punks. We spoke to guitar/mandolin maestro Marko about a band created from murder and seduction …

Many of you are already well-established in playing music. Where have each of you come from?

You’ll all probably recognize Travis Demsey from his years with The Living End. Alice, Greg and I play with Melbourne folk-punk group Mutiny.

Michelle used to play violin with Mutiny and guests with a lot of bands – I think her most recent thing was on the latest Drones album. Justin sung in The Great Unwashed and Mikey was in Sly Boots and a swag of other bands.

How did The Currency come into being?

It’s a long, long story, and involves murder and seduction. The short answer, though, is we all love Celtic music What is the story behind the band’s name?

“The Currency” was a term used in convict days to refer to the children born here. The Currency lads

DAN KELLY

Dan Kelly moved to Melbourne in the late 90s, having spent an itinerant youth labouring on Queensland farms and dreaming of better days as an itinerant, 20-something musician. His reputation as a writer and singer of rare talent quietly spread through music circles on the strength of a homemade demo and ever-compelling live performances.

His band, The Alpha Males, are Aaron Cupples (guitar) , Dan Luscome (keyboards), Lewis Boyes (bass) and Christian Strybosch (ex-Drones on drums) They are the perfect foil to Dan’s hyper-fictional, grown-upwrong songwriting, The Alpha Males provide the rock ‘n’ roll grunt and rootsy crunch behind Dan’s yearning voice, insistently gorgeous melodies and crafted wordplay.

Dan’s first release was the EP, “Man O’ Mercy”. The debut album, “Dan Kelly & The Alpha Males Sing The Tabloid Blues” appeared in March 2004. It featured the singles “Checkout Cutie”, “Tabloid Blues”, “Step Forward” and “Summer Wino”. The album gained three ARIA nominations and firmly established Dan as one of the great new voices in Australian music.

In August of 2006, he released a second album, “Drowning In The Fountain Of Youth”.

Dan Kelly plays with Holly Throsby at Hobart’s Republic Bar on Wednesday the 31st of January.

PALM THIS!

We at SAUCE believe that if the pipe ain’t broke, don’t fix it. So rather than write an article on this band ourselves, we’ve decided to let them do the talking. The following is Palm This, by Palm This…

Palm This are an experimental thrash pop outfit from the streets of Launceston. The sound is aggressive, danceable and yummy.

The band are recognised for their wonderful live shows and have won many a’ fan over the great state of Tasmania. The band has a refreshing sound and are sure to give hope, love and cats to the world.

Palm This “the concept” was created in mid-2005, but it was not until 2006 when said band started becoming “the bomb”.

These Crunkin’ cats from the streets took Tasmania by storm with their style of music described as “Experimental Thrash Pop”, “Shampoo Punk” and “Indie Wall Blast Pop”.

These cats didn’t conform, and that shows with their style of creative art music. This band is on a roll, so check ‘em out ya’ll!

Palm This play Curly’s Bar on the 2nd of February.

and lasses were noted for their strength compared to their European counterparts.

It’s been said that your music draws extensively upon Australian history. What are some examples of this?

There’re songs about bushrangers, runaway convicts, mutineers and scoundrels as well as present-day happenings. Most of the songs are like short stories in the tradition of Australian bush ballads.

What are some of the influences that have shaped

“

We are … taking advantage of the free food and beer.

”

the sound of The Currency?

I guess there’s an undeniable Pogues influence, Weddo’s; also there are echoes of Australiana, with traces of Redgum and The Bushwackers. Our punk backgrounds also show through.

HOLLY THROSBY

How did you start playing the mandolin? What do you think it brings to the sound of The Currency?

Lots of the music I listened to had mandolin, and the tunes just don’t sound as good on guitar. I guess it brings a brightness and authentic sound to the band.

There’s also whistle, fiddle, accordion, and a punk rock rhythm section.

Well, first and foremost, the Trout on the 19th! Lots of other touring, some good festivals and supports in the pipeline, and hopefully overseas when the album’s out.

You heard the man, people! The Currency plays Trout on the 19th.

We understand that The Currency is not, at this point, signed to a label. How has this helped and hindered the band? And what plans are in the pipeline to land a deal?

We are being courted by a host of labels and are taking advantage of the free food and beer.

You’re only playing one show on your Tasmanian visit. Why only one?

We recently played The Trout with Mutiny, and feel that it’s such a rollicking night – it’s all we need. Also we have to push on with the national tour.

What material have you currently released?

At this stage [there is] a three-song demo which you can hear at www.myspace.com/thecurrencyband We are recording a full length in February.

What does 2007 hold for the band?

THE HUB FESTIVAL SUPPORTS CHARITIES

BABYLON BICYCLE

Holly Throsby is from Sydney, Australia. Her first album was released in 2004. It was called “On Night” and it was recorded in a tiny house on Saddleback Mountian on the south coast of NSW.

The 2007 Hub Festival is not only going to be an awesome day but is proudly supporting local charities.

All the charities the festival supports are, in their own way, helping to improve the lives of Tasmanian children who are having a hard time or facing life crises.

Roman Astra is a unique artist. Delivering a multi-faceted mix of ethnic, eastern and western sounds and styles, he likes to leave it to the listener to categorise his work. “My influences come from all over the place”, Astra admits.

“Folk, funk, ethnic, classic – it’s all music to me.”

Her second album is called “Under the Town” and it was released in July 2006. “Under the Town” was recorded in the same house on the same mountain, but this time more people came up and they brought more instruments to play along with.

This year is the 20th Anniversary of Camp Quality Tasmania, a fantastic organisation that believes in the power of fun in helping children and their families overcome the challenges that cancer brings. This year the Hub Festival is giving festival tickets to all the campers (kids supported by Camp Quality) and their companions as well as donating a percentage of money raised to Camp Quality Tasmania. A percentage of money raised will also be going to Make-A-Wish Foundation, White Lion and the Alannah and Madeline Foundation.

Born in Vienna, Roman Astra learned to play the piano at the age of six. At fourteen he picked up the guitar and later trained to sing. He started to learn to play the sitar sixteen years ago and gradually developed a taste for it, and some skills on other exotic instruments too. Astra mostly plays original music but enjoys covering some of his favourites which he rearranges with his quirky humour.

In the last few years Holly has toured Australia many times and has played on various tours in the UK, Europe, America and Canada. She has toured on her own, with her band, and with artists such as Bonnie “Prince” Billy, Micah P. Hinson, The Eels, Mark Kozelek (Red House Painters, Sun Kil Moon), David Pajo, Hayden, Art of Fighting and New Buffalo. She has also played shows with Joanna Newsom, Devendra Banhart, Architecture in Helsinki, Low and Smog Holly is signed to Spunk! Records in Australia and Southern Records in the UK & Europe.

Holly Throsby plays with Dan Kelly at Hobart’s Republic Bar on Wednesday the 31st of January.

Thousands of people will be attending the festival and it will be a great way of raising not only much needed funds but also awareness of these campaigns .The main line up includes the Rogue Traders, the Young Diva’s, The Red Eyes, MINK, and local bands The Embers, The Rodgers, and Rip Sister. The event will also host a dance tent by Chilli DJ and Chill Out lounge. As a result, the target audience is widespread, allowing awareness to spread over a wide demographic.

There are beer bottles, hubcaps and telephone books used for percussion, different basses, a sitar, guitars, an Esraj (Srilankan Violin) or a Pipa (Chinese Lute) to be heard. A couple of vocalists make sure all the possibilities for harmonies are covered. A joint project of Roman and Witek, Babylon Bicycle demonstrates how to cross cultural and language barriers. With their musical vehicle, Astra and Witek create a style of their own by combining the rich textures of sitar, lute, Indian violin and vocals with many kinds of percussion instruments.

“Music is a language in itself”, explains Astra. Following this philosophy, Babylon Bicycle have allowed their hearts to do the thinking and tell their hands what to play.

The Hub Festival will be held at the AGFEST site, Quercus Park, Carrick on the 26th of January

Babylon Bicycle plays Curly’s Bar on the 19th of January.

ENOLA FALL

WOMEN IN DOCS

MONSTERS OF ROCK

Enola Fall is an indie rock/pop/whatever band from Hobart.

A label like “perhaps Australia’s hardest working artists” might be giving too much credit to some acts, but for Women in Docs, it’s a label that fits like a glove.

A fire-breathing, blood-spitting, guitarsmashing night of rock ‘n’ roll mayhem, coupled with a $10,000 fireworks display, levitating drum kits, exploding cannons and some of Australia’s best tribute shows and you have all the ingredients for one massive rock ‘n’ roll party!

Their particular brand of music is immediately accessible and melodic; the songs have a formidable emotional weight and a haunting strangeness. There is a quality, due in part to the use of unusual rock instruments like the accordion, mandolin and pump organ that is heard in only a few modern bands. The group is currently a three-piece centered around singer/guitarist Joe Nuttall, whose voice has been compared to Connor Oberst, The Arcade Fire’s Win Butler and Muse’s Mathew Bellamy.

So far, the band has recorded and released two CDs: “It Always Comes To This” (2003), “We Never Sleep” (2005); become the first Tasmanian band to ever hit Triple J’s Net 50; supported Grinspoon, Eskimo Joe, Something for Kate and Epicure; performed a live set for Triple J’s Home and Hosed with producer Chris Thompson (The Waifs, Augie March); and distributed the album “We never Sleep” as far as Germany, UK, France, Holland and Denmark on Cargo and Plastic Head distribution.Currently, the band is about to release their third album. Not bad at all.

Enola Fall play Curly’s Bar on the 2nd of February.

Women in Docs have accrued an impressive array of career benchmarks. They’ve played major festivals and music industry events throughout the world. They enjoy ongoing airplay throughout Australia. They have sold over 20,000 CDs independently. Recent releases have spent time in the Top 20 of the Australian Independent Records Charts. And they regularly play to packed houses, touching the lives of people from a broad cross-section of ages and cultural backgrounds.

Women in Docs recently showcased at the 2006 Folk Alliance conference (Austin, Texas) and Canadian Music Week and will be returning overseas later in the year to capitalise on this success and oversee their first US release.

It’s hard not to love Women in Docs. If they haven’t already caught you in their web of fans, their new album will grab you with delightfully honest and down-to-earth humour, dressed in stealthily addictive melodies. And comfortable shoes.

Women in Docs play the Tamar Valley Folk Festival alongside Steve Turner, John Palms and many more, which runs from the 19th to the 21st of January. Full details at www.tamarvalleyfolkfestival.com

The “Monsters Of Rock” rock ‘n’ roll spectacular is set to touchdown in Hobar t after performing sold out shows around the country.

Featuring Melbourne based tribute shows “Bad Medicine” The Bon Jovi show, “X-Halen” the Australian Van Halen show, Tasmania’s own “High Voltage” AC/DC tribute and, returning to Hobar t after last January’s massively popular concer t, “War Pigs”; the Black Sabbath/Ozzy Osbourne tribute to headline the mayhem.

Tickets for the “Monsters of Rock” are on sale now from Tracks music stores.

Monsters Of Rock will be held on Australia Day Eve, Thursday January 25th, at Glenorchy’s Royal Showgrounds. Gates at 6pm. This is a licensed all-ages event.

PAGE 11

S AT U R D AY F E B R U A R Y 1 7 T H

35 CAMERON ST L’TON 6331 7222

MENTAL AS ANYTHING WEDNESDAY 3RD HOBART Curly’s Bar Detour

Republic Bar & Café Anita George & Simon Phillips - 9pm Syrup 10pm: LATE NIGHT BOOTY CALL – Resident DJ’s Mez, Chilli &Dave Webber Telegraph Hotel DJ Gnosis + friends

THURSDAY 4TH HOBART

Irish Murphy’s Bridget Pross, Anita George, Fink Republic Bar & Café The Breed - 9pm

JAMES HOTEL

122 YORK STREET LAUNCESTON

CURLYS BAR

112 MURRAY STREET HOBART

Syrup MESH – Hobart’s oldest club night, breaks/drum+bass with resident DJs Mez and Model T + Guests Telegraph Hotel Charles

LAUNCESTON

James Hotel UniNight Funkin Unbelievable & Dj Nikko Royal Oak Leo in the bar

FRIDAY 5TH HOBART

Republic Bar & Café Simon Russel Guilty as charged 10pm

DAVE SEAMAN @ SYRUP JAN 26TH

Syrup Downstairs 5pm Early Chill Out After Work 7pm : KO – Resident DJ’ Mez Downstairs 11pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan Upstairs 11pm: Syrup presents “BreakEven” with residents Adam Turner, Mez, + Guests Telegraph Hotel Sessi Jesse Background Beats Trout Pisschrist

LAUNCESTON

James Hotel James Bar - Glenn Moorhouse Reality - Dj MacD & Dj Nikko

Bar celona

Royal Oak The Titz in the bar

SATURDAY 6TH BURNIE

Stage Door the Café Shindig 11 featuring Jesus & the Jedi, Jacob Boote - 7.00pm

HOBART

bar . cocktail . lounge . dj’s new tapas menu WEDNESDAY - SUNDAY EVENINGS

23 SALAMANCA SQUARE HOBART 6224 7557

Bar Celona DJ Brent and Guests Curly’s Bar “Commercial Dance” – DJ JimK, D2M, ABS, DJ Grotesque, Samex Republic Bar & Café True Live supp. Loose Caboose - 10pm Syrup Downstairs 10pm: TACKYLAND – 70’s 80’s and 90’s RETRO - DJ’s Billy BoB & Naughts Upstairs 11pm Dirty Fking Dancing presents – house, electro & breaks, with resident DJ’s Gillie & Adam Turner, + Corney & Timo Telegraph Hotel Telegraph Street Party 2007 Crazy Penis (UK) Pty Ltd, Dave Webber & Gnosis Trout Bad Luck Charms

LAUNCESTON

James Hotel Reality -Dj 4 Strings (Amsterdam) + Recut + Randall Dj MacD & Dj Nikko Royal Oak Anita George with Simon Phillips in the bar

SUNDAY 7TH HOBART

Republic Bar & Café Mark Nunis (Melb) - 8.30pm Telegraph Hotel Liquid Lounge – DnB Model T + friends

LAUNCESTON

Irish Murphy’s TasMusic Showcases Summer Series Van Diemen, Cruel Like That, Nick Warren (Modus) 3-6pm

MONDAY 8TH HOBART

Republic Bar & Café Manic Monday (3 Bands) - 8.15pm

LAUNCESTON

James Hotel HO Club Launceston’s Hospitality Night

TUESDAY 9TH HOBART

Republic Bar & Café Leah Flannigan 9pm

WEDNESDAY 10TH HOBART Curly’s Bar Ethel the Frog

Halo Plump DJ’s Republic Bar & Café Fabio & Band (African music) - 9pm Syrup 10pm: LATE NIGHT BOOTY CALL – Resident DJ’s Mez, Chilli & Dave Webber Telegraph Hotel DJ Gnosis + friends

THURSDAY 11TH BURNIE

Stage Door the Café Kate Meehan and Skip Landy Queen of Australian Blues and King of Boogie Woogie Piano - 8.00pm

HOBART

Irish Murphy’s Simone Taylor, Samuel Bester, Hannah Republic Bar & Café Sunas - 9pm Syrup MESH – Hobart’s oldest club night, breaks/drum+bass with resident DJs Mez and Model T + Guests Telegraph Hotel Charles Trout Aaron Rogers - Couch Acoustic

LAUNCESTON

James Hotel UniNight - Sgt Green & Dj Nikko Royal Oak Dan Townsend with Nathan Weldon in the bar

FRIDAY 12TH BURNIE

Stage Door the Café Neil Gibson – folk ‘n blues 7.00pm

HOBART

Curly’s Bar “Curly Friday” Republic Bar & Café Unleash the Nugget - 10pm Syrup Downstairs Open @ 5pm Great wines and cocktails 7pm: KO – Resident DJ’ Mez ‘Laying down the Chunks “O” Funk’ Downstairs 11pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan Upstairs 11pm: LaCasa “Sexy Vocal House” with residents MattB & Timo, DJG Telegraph Hotel Sessi Jesse - Background Beats

LAUNCESTON

James Hotel James Bar - Leigh Ratcliffe Reality - Dj MacD & Dj Nikko Royal Oak Leo & Mick in the bar

SATURDAY 13TH BURNIE

Stage Door the Café The Andy Farrell Trio - 7.00pm

HOBART

Bar Celona DJ Brent and Guests Curly’s Bar 4 Strings Republic Bar & Café That 1 Guy (USA) supp. Scientist of modern music - 10pm Syrup Downstairs 10.00pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly & Billy Bob Upstairs 11pm: Dirty Fking Dancing Present the best Electro, House n’ Breaks with residents Adam Turner, Gillie+ Kir & DSKO Telegraph Hotel Oscar (live band) Trout Lucy

LAUNCESTON

James Hotel James Bar - Glenn Moorhouse Reality - Dj MacD, Dj Nikko Royal Oak Merchants in the Groove in the bar

SUNDAY 14TH HOBART

WEDNESDAY 17TH HOBART Curly’s Bar Detour

Republic Bar & Café Paul Green - 9pm Syrup 10pm till late: LATE NIGHT BOOTY CALL with DJ’s Mez, Chilli &Dave Webber.

Telegraph Hotel DJ Gnosis + friends

THURSDAY 18TH BURNIE

Stage Door the Café Viktor Zappner Trio featuring Andy Farrell - 8.00pm

HOBART

LAUNCESTON

James Hotel HO Club - Launceston’s Hospitality Night

TUESDAY 16TH HOBART

Republic Bar & Café Train wreck - 9pm Telegraph Hotel Wax Lyrical

TUESDAY 23RD HOBART

Republic Bar & Café Joe Piere - 9pm

WEDNESDAY 24TH HOBART

Syrup MESH with resident DJ’s Mez, Model T & guests Telegraph Hotel Charles

LAUNCESTON

James Hotel UniNight - 3Sum & Dj Nikko Royal Oak Samuel Bester in the bar

FRIDAY 19TH BURNIE

Stage Door the Café Neil Gibson - Folk ‘n blues 7.00pm

GEORGETOWN

Georgetown TAMAR VALLEY FOLK FESTIVAL See website: www.tamarvalleyfolkfestival.com

HOBART

THURSDAY 25TH BURNIE

Stage Door the Café Viktor Zappner Trio featuring John Broadby 8:00pm

HOBART

Curly’s Bar One Love - Andy Murphy Irish Murphy’s Cait Vertigan, Micheal Clennett, Nathan Weldon & The Two Timers Royal Showgrounds MONSTERS OF ROCK Kisstroyer, Bad Medicine, X-Halen, High Voltage War Pigs - 6pm gate Syrup MESH – Hobart’s oldest club night, breaks/drum+bass with DJ’s Mez, Model T and Guests

Trout Stand Defiant, Stolen Youth, The Scandal, Ballpoint, Your Demise - 8pm 18+

LAUNCESTON

James Hotel Australia Day Eve - The Dead Abigails The Embers + Dj Nikko

FRIDAY 26TH HOBART

Telegraph Hotel Sessi Jesse - Background Beats

Halo Ritual (Syd)

Trout THE CURRENCY

Republic Bar & Café DUB:PLATE 1pm - 1am Dub, Reggae, and Drum & Bass Bands, DJs, and BBQ.

Royal Oak David Adams in the bar

SATURDAY 20TH GEORGETOWN

Georgetown TAMAR VALLEY FOLK FESTIVAL See website: www. tamarvalleyfolkfestival.com

HOBART

Bar Celona DJ Brent and Guests Curly’s Bar “Commercial Dance” – DJ JimK, D2M, ABS, DJ Grotesque, Samex Halo Tipper (Tippermusic UK) Republic Bar & Café Curse of dialect plus Crixus, Cryteria, Mc Tempest plus Snez Mega - 10pm

Syrup Downstairs 9pm: KO with Resident DJ MEZ ‘Laying down the Chunks “O” Funk’ Downstairs 11 pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: Australia Day with Dave Seaman plus locals Matt B, Gillie and DSKO Telegraph Hotel Sessi Jesse - Background Beats The Loft Ballpoint, Stolen Youth, The Scandal Stand Defiant, plus guest - 5pm ALL AGES

LAUNCESTON

Agfest Site, Quercus Park, Carrick HUB FESTIVAL 2007 Rogue Traders, Young Divas, The Embers, Mink The Red Eyes, The Rogers, Rip Sister James Hotel Reality - Dj MacD & Dj Nikko

Syrup Downstairs 10.00pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Naughts and Rolly. Upstairs 11pm: DIRTY F’KING DANCING – house, electro & breaks with resident DJ’s Gillie & Adam Turner +Timo , Modal

Royal Oak Idle Hands in the bar

Telegraph Hotel Oscar (live band)

Curly’s Bar “Commercial Dance” – DJ JimK, D2M, ABS, DJ Grotesque, Samex

LAUNCESTON

Royal Oak Ben Castles in the bar

SUNDAY 21ST GEORGETOWN

Georgetown TAMAR VALLEY FOLK FESTIVAL See website: www.tamarvalleyfolkfestival.com

HOBART

SATURDAY 27TH HOBART

Bar Celona DJ Brent and Guests

Halo Paul Arnold (Chew The Fat! UK) Republic Bar & Café Pegz with Bonez, EPC, Oratoric & Paddles 10pm Syrup 10.00pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Billy Bob & Naughts Upstairs 11pm: DIRTY F’KING DANCING House Elctro and Breaks with residents Adam Turner, Gillie and DSKO, Corney

Republic Bar & Café Cake Walking babies - 8.30pm

Telegraph Hotel Oscar (live band)

Telegraph Hotel Liquid Lounge – DnB - Model T + friends

Commercial Hotel The Scandal, Stolen Youth, Ballpoint, Stand Defiant, plus guest, 8pm +18

LAUNCESTON

Irish Murphy’s TasMusic Showcases Summer Series Dave Adams Band, The Velvet Lounge Mick Attard - 3-6pm

LAUNCESTON

James Hotel James Bar - Glenn Moorhouse Reality - Dj MacD & Dj Nikko Royal Oak Kate Meehan in the Boatshed

2ND EVERY Y D S TUE A

SDAY WEDNE

rical Wax Ly

sis Djs Gnonds

LAUNCESTON

Irish Murphy’s TasMusic Summer Showcase Cruel Like That

MONDAY 29TH HOBART

James Hotel HO Club Launceston’s Hospitality Night

Republic Bar & Café Sugartrain - 10pm

James Hotel James Bar - Paul Greene (Syd) Reality - Dj MacD &Dj Nikko

Telegraph Hotel Liquid Lounge – DnB - Model T + friends

Republic Bar & Café Kobya (African reggae) - 8.30pm

Telegraph Hotel Charles

LAUNCESTON

Republic Bar & Café Ellamore 10pm

Republic Bar & Café Manic Monday 3 Bands - 8.30pm

Curly’s Bar “Curly Friday”

Syrup Downstairs 7pm: KO – Resident DJ’ MEZ ‘Laying down the Chunks “O” Funk’ Downstairs 11pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm:” La Casa” Presents “Kink” with special guest Ben Morris from Sydney + Local residents MattB , DJG & Timo

SUNDAY 28TH HOBART

Curly’s Bar Ethel the Frog

Telegraph Hotel DJ Gnosis + friends

James Hotel Reality - Dj MacD & Dj Nikko

Republic Bar & Café G.B. Balding (finger picker blues) - 8.30pm

James Hotel HO Club - Launceston’s Hospitality Night

Republic Bar & Café Son Del Sur (Cuban salsa) - 9pm

Telegraph Hotel Liquid Lounge – DnB - Model T + friends

MONDAY 15TH HOBART

LAUNCESTON

Irish Murphy’s Atalana Heale, Simon Ditcham, Timbre Band

Trout The Roobs

Irish Murphy’s TasMusic Showcases Summer Series Nathan Wheldon & The Two Timers The Stoics, Ruben Ellenberger 3-6pm

Republic Bar & Café Tash + Steven Cambell - 8.30pm

Syrup 10pm till late: LATE NIGHT BOOTY CALL with DJ’s Mez, Chilli &Dave Webber.

Republic Bar & Café The Locals (Sydney) - 9pm

LAUNCESTON

MONDAY 22ND HOBART

LAUNCESTON

TUESDAY 30TH HOBART

Republic Bar & Café Blue Flies 8.15pm

and frie

DAYS THURS

S FRIDAY

s

Charle

esse SessiroJund beats) (backg

AYS SATURD

Oscar

d)

n (live ba

YS

SUNDA

ounge Liquid LModel T (DnB) nds and frie

MORRISON STREET WATERFRONT HOBART 6234 6254

WEDNESDAY 31ST HOBART Curly’s Bar Detour

Republic Bar & Café Holly Throsby plus Dan Kelly - 9pm Syrup 10pm till late: LATE NIGHT BOOTY CALL with RESIDENT DJ’s Mez, Dave Webber.

Telegraph Hotel DJ Gnosis + friends

LAUNCESTON

Royal Oak - Open Mike Night

FEBRUARY THURSDAY 1ST HOBART

Irish Murphy’s Atalana Heale, Simon Ditcham, Fink Syrup MESH – Hobart’s oldest club night, breaks/drum+bass with DJ’s Mez & Modal T Telegraph Hotel Charles

LAUNCESTON James Hotel UniNight 3Sum Dj Nikko

FRIDAY 2ND HOBART

Curly’s Bar “Curly Friday” Syrup Syrup open from 5pm Great wines and Cocktails Downstairs 9pm: KO with Resident DJ MEZ ‘Laying down the Chunks “O” Funk’ Downstairs 11 pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan.

Upstairs 11pm: Syrup presents “BreakEven” Phat Breaks and Beats with residents Adam Turner, Mez, + Guests Telegraph Hotel Sessi Jesse Background Beats

LAUNCESTON

James Hotel James Bar Glenn Moorhouse Reality Dj MacD Dj Nikko

Burnie

Stage Door The Cafe 254 Mount St Upper Bur nie 64322600

Hobart

Bar Celona Salamanca Square Hobart 6224 7557 Cur ly’s Bar 112 Mur ray St Hobar t 7000 6234 5112 www.curlysbar.com.au Halo 37a Elizabeth St Mall Hobar t 6234 6669 Irish Murphys 21 Salamanca Pl Hobar t 7000 6223 1119 www.irishmurphys.com.au

SATURDAY 3RD HOBART

Republic Bar 299 Elizabeth St Nor th Hobar t 6234 6954 www.republicbar.com

Curly’s Bar “Commercial Dance” - DJ JimK, D2M, ABS, DJ Grotesque, Samex

Syrup 1st Floor 39 Salamanca Place Hobar t 6224 8249 syrupclub@bigpond.com

Bar Celona DJ Brent and Guests

Syrup 10.00pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly & Billy Bob Upstairs 11pm: DIRTY F’KING DANCING House Electro and Breaks with residents Adam Turner, Gillie and Corney & Modal Telegraph Hotel Oscar (live band)

LAUNCESTON

James Hotel MYNSE Debut CD Launch + Guests DJ MacD & DJ Nikko

SUNDAY 4TH HOBART

Telegraph Hotel Liquid Lounge – DnB Model T + friends

MONDAY 5TH LAUNCESTON

James Hotel HO Club Launceston’s Hospitality Night

Telegraph Hotel 19 Morrison St Hobart 6234 6254

Launceston Batman Fawkner Inn 35 Cameron Street Launceston 6331 7222 Irish Murphys 211 Brisbane St Launceston 6331 4440 James Hotel Reality Nitec lub James Bar 122 York St Launceston 6334 7231 www.jameshotel.com.au info@jameshotel.com.au

WEDNESDAY 7TH HOBART

O’Keefes 124 George St Launceston 6331 4015

Telegraph Hotel DJ Gnosis + friends

Royal Oak 14 Brisbane St Launceston 6331 5346

Curly’s Bar Ethel the Frog

Freq Nasty

HALO – 16/12/06

By Felix Blackler

T’was the night of Freq Nasty…

T’was a week before Christmas, and all through the streets, People were heading to Halo for some solid Freq’n beats; Santa had come early for the breakbeat-informed; Freq Nasty was in town to make us bounce until dawn, A New Zealand ex-pat who is well-known for his dreads, A DJ with skills and his own sound behind the decks, From breakbeat to dub and reggae with bass, His bag is full of tricks, ready to put a smile on your face, A solid supporting act, local WBalls had set the scene; The walls began to shake with some tracks that were just mean, By two in the morning, you could barely move around the floor, But Halo was just getting started, the people ready for more, When who to my wondering eyes should appear, but Freq Nasty himself? And we all started to cheer, A sample of Nirvana thrown against some of his thumping new tunes, And a quick flick of the fader, Freq Nasty had the crowd moving to his boom.

Backing his sound that was a deafening thunder; We were treated to Freq Nasty visuals on a big screen for our wonder.

By far one of the best acts to hit Halo this year, As a night it was emotional; I almost wept with a tear.

Then with a smile he disappeared gently into the night, And after him we yelled, “Merry Christmas Mr Freq; Hobart thinks you’re more than alright.”

ZDF & Mephistopheles SALOON – 10/12/06

By Tom Wilson

Supafly

JAMES HOTEL – 28/11/2006

By Ryan Farrington

A charming “hype-man” seems to be a prerequisite for a successful live house or DnB act nowadays, and it takes a bunch of energy to hop around on stage hyping the crowd for two-plus hours. But vocalist One – from London two-piece Supafly – has definitely proven himself to be up to that task.

When I arrived, DJ Buff was already brewing up a storm for the house freaks, but the crowd started to dissipate slowly as they grew impatient.

Finally, at around twelve, Supafly finally blasted their way into an energetic set.

DJ Mister P and vocalist One quickly managed to recapture the stray crowd members and, after only a couple of tracks, created a big squirming pit of people, dancing their way into the wee hours of the morning.

Supafly certainly mixed their set creatively, playing remixes of anything from AC/DC to Pink Floyd classics, showing their ability to reproduce a diverse range of music.

I was impressed at the way the vocalist and DJ communicated with each other; they seemed to be constantly checking up with each other and deciding on when to cut the beat in and out.

MOS Annual

SYRUP – 9/12/06

By Felix Blackler

Behind yet another loaded MOS “Annual” compilation are two of Australia’s finest house DJ’s, Mark Dynamix and John Course. Stopping over to Syrup as part of their national tour, the “Annual” gigs have always proven to be a great night, and this year was no exception.

After a scorching day, Syrup was packed, and people shuffled to the biggest of fans to keep cool as the crowd massed into a well dressed army of grinning clubbers.

Syrup’s local residents set the scene in stunning fashion, moving the crowd around the floors and creating an awesome vibe before Mark Dynamix and then John Course stepped up.

Unleashing tracks from this year’s “Annual”, it was impressive to see both Dynamix and Course roll in some heavy tracks that have helped give house the edge it has today. From the popular bass-driven sounds of Fedde Le Grand’s “Put your hands up for Detroit” to the funky and vocally charged “Pictures”

by Sneaky Sound System, the guys did a great job bringing the tracks to the crowd and at the right moment. A touch of cheek was in play as they used their skills behind the mixer to sneak a few tracks on the unsuspecting punter before setting the place alight.

Supafly have done their research and know exactly how to work a crowd, and the professionalism and energy they put across will surely set them apart from similar other acts for a long time to come.

Once again Syrup’s speakers were at breaking point, pushing every sound to the corners of the club. As far as Ministry of Sound tours go, it was a show worthy of some high-frequency audio bombardment.

Bob Evans

Son Del Sur

CURLYS 23/11/06

By Ian Murtagh

REPUBLIC BAR – 28/11/06

By Ian Murtagh

Something With Numbers Fifty Sixx, Angela’s Dish SIROCCO’S 24/11/06

By David Williams

I walked in mid-way through an anarchic set from Fifty Sixx; the band opening the night with some fast, loud punk.

Next up were Angela’s Dish. The band had an amazing sound; clear, loud and very powerful – a bit less vicious than Fifty Sixx, with a bit more melody.

If Fifty Sixx were going for the Henry Rollins vocal approach, Angela’s Dish seemed to go for The Church. They used space pauses to good effect; the singer engaging the audience on as many levels as the multi-tiered venue.

Then, as the clock struck 12:45, Something With Numbers took to the stage; their bass guitarist leaping and running in all directions as the crowd started jumping.

Incorporating some soaring vocal harmonies with powerful guitars, SWN’s set moved through some very entertaining musical terrain; closing one song with the “Smoke On The Water” riff, and breaking out a tambourine during another. Their movements from light to shade worked well; at one point juxtaposing a heavy track with an acoustic ballad.

Sound wise, it was a top effort on the desk by James of Frontline; reacting and adjusting to the pulse of each band’s sound. A great feature of the venue is the PA; it was the loudest and clearest system I’ve heard in Tassie. Oh yeah, Sirocco’s also has it’s own kitchen serving hot food. Nice!

All in all, it was very loud, very entertaining stuff.

The Melodics

JAMES HOTEL – 22/12/06

By Ryan Farrington

The night opened with Rock Challenge winners Confessions Of Darkness. While the boys can definitely play, it’s disappointing that they subscribe to the same metalcore sound that, frankly, has been done to death (and then done some more).

Hopefully, with time, they’ll come into their own, and develop a sound which is truly theirs.

This was the first time I’d seen Corpse Carving.

Boasting a lumbering, chunky sound (and a particularly nice banner behind the kit), their stage presence was impressive; guitarist Pryer looking rather bad-ass. Their down-tuned brutality quickly drew punters out of the wings to the front of the stage.

After their set of some truly to-the-point death metal – some songs seemed less than a minute long – it was time to raise the devil horns at some highly entertaining power metal from Taberah. Simply put, these guys made me forget that I hate that genre; their lead guitarist putting a foot on the fall-back amp and striking a rock pose worthy of Iron Maiden.

Theirs was a set of big, cheesy riffs, not to mention a hell of a lot of fun.

Then, the mood darkened, as melodic death magicians Zero Degrees Freedom hit their first dramatic chord. The set showcased several new songs (executed to varying degrees of success), and, while noticeably missing their cornerstone hit “In A Dark Reflection”, provided many great moments (such as the band and the drummer playing different songs at the same time). Unfortunately, this was guitarist Will’s last ZDF show. When he had to duck into the loo mid-set – leaving the remaining band played some jazz improvisation to pass the time (as metal bands do) – it felt, to me, like a great show to go out with. ZDF will never be quite the same without you, Will.

Closing the night was a band I’m really excited about; death metal/jazz fusion act Mephistopheles, who – at a relatively young age – are taking metal in a fresh new direction. Clearly not subscribing to metal’s fashion stereotypes by playing in boardshorts and thongs, they opened the set with their more off-kilter, eclectic material, before their soon-to-be-permanent vocalist Matthew Chalk joined them on stage. It’s no secret that Chalky has parts of Tassie’s metal scene divided; while his work with this band sounded great, I’m hoping that his involvement won’t hold Mephistopheles back from the wider audience they so richly deserve.

It’s a warm night and people are out en force. It’s a stand-around-with-your-arms-folded kind of crowd, but at least it’s a stand-very-close-to-the-front-ofstage-with-your-arms-folded kind of crowd.

Bob comes on and jumps right into his new stuff. It’s not bad; a little to the left of what was offered up as Jebediah, it’s got that familiar nasal angst. His usual energy’s having a sick day; it might have fallen through tired fingers on a long touring road, but it was probably due to him sitting down.

Let me recommend that the next time you get a chance to see Son Del Sur, take a date.

I’m usually the first person to show up and support the opening acts, but tonight it was nicer to just see what Bob had for us. His tunes are still poetic, if not a little dry and predictable, and, being the first time I’d seen this line-up, it was sweet leaning against the wall and joining the crowd in a good round of arm-folding. He did flick the switch on a few times and got some feet tapping, but admittedly there was a quiet buzz hanging over the onlookers like vultures circling; they wanted “Harpoon”.

It was a nice crowd for a Thursday night at Republic; I always gauge how good the crowd is by how fogged the windows get, and no offence, but prefer it when I can still see the street.

I’ve got a funny opinion about this. I reckon it’s an honour to have a song immortalised, and a responsibility a performer must take up – like a mantle – to play it to a hungry crowd. I was a little gutted he didn’t pull it out, but still, it was a good show – albeit with a slightly bitter drop of disappointment for me.

Cuban Salsa dancing isn’t easy; the best thing was, not many people there knew how to dance to it properly, so goofy dancing was fully permissible.

I always know I’m up for a wicked night when there’s a huge band on stage; examples being Unleash The Nugget, True Live etc. And Son Del Sur didn’t disappoint.

By the end of the night I was shagged, and needed to sit down before my feet died. It would have been nice to catch the support act, but I fear that I might have passed out from exhaustion if I’d come too early to this one.

For God’s sake – bring them back Republic.

Kicking the night off was Hobart’s own ever-reliable Unleash the Nugget, with a killer set to a small, but pretty enthusiastic crowd. Equipped with a brandspanking new drummer, Nugget smashed their way through party favourites like “Pretty Cute for a Wookie” and “Bomb Diggidy”, showing us exactly why they managed to place a spot in the 2006 Falls Festival.

By the time Nugget closed their set, the slowly growing crowd were dancing their arses off, and after a short break, Melbourne-based jazz/hip-hop crew The Melodics decided to hop up and show the crowd what they had to offer.

I’d heard of these guys, but I hadn’t had a chance to check out their material, so I was keen to see how they handled a rowdy, unforgiving Launnie crowd. Before I knew it, I was dancing away to an impressive set by these guys, who really made a point of keeping the energy levels peaked.

The MC kept it interesting, and all of the musicians from the band were fantastic – from a tight horn section to the warm, jazzy keyboard player.

The mix (sound-wise) was brilliant; the bands were both sharp, and the crowd was full of good people to match them.

All in all, even though I honestly feel Unleash the Nugget outshined the main act with diversity and variety, the Melodics are definitely a must-see for any live funk/hip-hop fan.

PAGE 15

ADRENALINE JUNKIE

Catching A Barrel With No Pants On, It’s

TIMMY CURRAN

BY TOM WILSON

Internationally recognised in the art of wave-riding as one of its most committed (and, incidentally, most naked) practitioners, American Timmy Curran is now flexing his talent in his other love – music. I spoke to him about Jack Johnson, the influence of his father, and the “release” of surfing.

So when do you think your interests in music began?

Honestly, I would say it was probably around when I was thirteen or fourteen. My dad always had guitars around the house, and he played guitar

When did you first get on a board?

I think I was probably about five or six, but it was just my dad pushing me into little tiny, knee-high white waters down at San Diego. I just remember…once I started riding waves, even on my stomach, I was hooked.

before I started. He would play bits and pieces of stuff like Neil Young, because he really loved those guys.

How does surfing make you feel? If there was one way to put it into words, what do you think it would be?

I guess it’s like a release for me. Yeah; one word would be “release”. It’s like I forget a lot of the time what’s going on, and life. It’s just nice being in the ocean.

“

I’m the naked surfer!

”

I picked up the guitar when I was thirteen or fourteen, and once I started playing and just messing around with it, I always had it in my hands from then on. It was [just] messing around;

trying to come up with chord progressions on my own. I feel like I’ve always had the guitar around me since then.

What’s your latest musical production at the moment?

Right now, myself and two of my good friends are recording our first full-length album. I recorded an EP that was released about six months ago, that was just acoustic, and was recorded pretty much live. We recorded each song, did a couple of takes until we got the right one, then put six songs together, and that was what we considered the EP. So that’s where we’re at right now.

So how much do you and Jack Johnson hang out?

Oh man, I actually just saw Jack two weeks ago in Hawaii when I was over there surfing. We hung out for a while. Other than that; I hadn’t seen him

until the year before that. And before that, it was two years, because he’s been gone, you know?

In 2002, you were the “Third Most Exposed Surfer” on the CT Tour. Why surf naked so much?

That’s a funny question. I just surf too much, I guess. I’m the naked surfer!

So what are you doing next?

Immediately next, I’m playing a show in California; it’s a Christmas show with Jet, Angels & Airwaves, and Thir ty Seconds To Mars. Then I have one more, then a week off.

And then my next trip is to Oz, for the shows there, which I’m really excited about; it’s my favourite place in the world to go. I can’t get enough of it, and I never want to leave.

For more ... http://www.timmycurran.net/

In the time that you’ve been surfing, how many near-death experiences have you had?

I haven’t really had one, knock on wood. Not neardeath. I’ve had ones where I’ve got held down a lot longer than I wanted to, but I still think it’s a long way from near-death.

It doesn’t matter if they have their leg bitten off; surfers will still get back in the water. What do you think it is about surfing that produces that kind of passion?

I think there’s a feeling that you have when you surf, especially when you’re riding a wave that hasn’t broken yet. There’s something about the feeling of the power of the ocean. I don’t know; it’s hard to describe riding a wave or getting a barrel to somebody that’s never done it. It’s a feeling; you have to do it to know. And I’m totally addicted to getting barrels, or finding waves that are barreling, because it’s one of the best feelings in the world.

Are there any similarities for you between the experience of surfing, and that of performing music?

I think the similarities would definitely be the release. I feel like I’m still getting used to the performing part, because it’s so new for me. So I think, playing the songs at my house, and writing music on my guitar, and singing to it; for me it’s a release. [It’s] getting out [what’s] on my mind.

TRAVEL BUG / ACTIVITY

CABLE HANG-GLIDING

BY STEVO

ON TOUR THROUGHOUT JANUARY Hobart 2nd - 11th | Launceston 12th - 18th Devonport 19th - 24th | Wynyard 25th - 30th “You f**ker!” I yelled, half-way into the flight, to Dave, for making me go first on the cable hangglider. It was like the rush of abseiling when you first step over the edge of a cliff, but a rush that lasts for about twenty-five seconds.

“Oh – a cable-hang glider. What a wimp!” I hear some of you say. And I must admit, I had been a bit negative about it in the past, thinking something like, “Oh, it’s attached to a cable. It won’t be that good.” I couldn’t have been more wrong.

When you’re flying down the hill, going faster and faster, with twenty-five meters of nothing below you, you forget that there’s a cable at all. You hold on to the bar as tight as you can and hope that your harness remains attached.

When you push your arms out straight, the wing of the glider catches the wind and you can feel yourself rise and you’re actually gliding.

Peter Nielsen, the operator of Cable Hang-Gliding at Launceston in the north and Tahune in the south, says the experience is meant to be a simulation only.

“It’s for the people who see those gliders a thousand feet up, but they’ll never get there. So, it gives them a twentyfive-second experience of what it feels like,” he said.

There are a couple of moments when the adrenalin really rushes. First, as you stand on the launch platform and Peter releases the brake, and the glider – which your PAGE 16

1800 043 080 www.skydivetasmania.com.au harness is hooked to – takes you down and over the edge. And second, just when you’re getting used to the flight, holding your arms out and hanging under the wing as you hurtle down the slope, you go over the cliff edge and the ground falls away another twenty meters.

The knuckles go white.

If you’re not after the maximum thrill factor, but you still want the experience, then Peter will apply the brake all the way down for a slower ride.

And at the bottom of the ride, he puts the brake on more firmly. The momentum brings your legs underneath you for a walking landing. And then a few screams to let out the energy.

Waiting for me at the bottom was the eight-year-old girl who had gone before me. “Did you go fast?” she asked.

“Yeah, it was awesome”, I replied.

The girl’s mother, who went before both of us, said, “I just wish you got another go. Once you go the first time, and get over being scared, you want another turn.”

Of course, you can have as many goes as you like.

“If you’re willing to go and over five (years of age), I’ll send you down,” said Peter.

And so I walked back up, and went again.

To find out more about Cable Hang-Gliding, contact Peter on 0419 311 198.

SPECIAL FEATURE

THE PULP MILL PART 1 (OF 4)

GUNNS’

JOHN GAY

The saying goes; there are always two sides to every story. Those against Gunns’ proposed pulp mill have been successful in spreading their points-of-view to the wider public. Executive chairman and managing director of Gunns, Mr John Gay, gave SAUCE an exclusive interview, keen to put forward his views on this important issue for all Tasmanians, in the first part of a special feature which will run over the next four editions, featuring all sides of the debate.

On a personal level, what are your plans for the near future? Are you looking at moving anywhere?

No, no. I’ll be here. I’ve been here all my life, and I think people understand that. I’m a Tasmanian.

I live here. I own my own house here. Why am I going to move? I started the business. Gunns was a very small company when I joined it in 1973. I built the company – why am I going to walk away?

What do you see as the major achievements of Gunns?

Building a substantial company, for the benefit of the Tasmanian workforce.

So it is your intention to see the pulp mill through to operation?

Most certainly. The process of building a pulp mill is a three-year process, and I intend to be here for the next three years, and into the future.

To what extent were you expecting the amount of opposition that’s come out against the pulp mill proposal, when you were putting it together?

We always knew there was going to be a percentage of opposition, because of the forestry issues in Tasmania. But those issues have been smaller than we thought. I think that forestry has been a topic for some twenty or thirty years in Tasmania.

It’s been used as a political issue more than it has been a genuine issue of saving the forests.

The misinformation that has been peddled on forestry in Tasmania has been significantly overstated, and, unfortunately, the people who aren’t in the industry don’t understand that, and they have no way of knowing that the anti-forestry campaign has been led on misinformation.

Do you have any understanding of people’s fears based on the information that they’re receiving?

Well, all people have fears about unknowns.

And the information that’s being put out there is unknown, because it’s not correct. If they go and see the correct information, they haven’t got any fears.

It’s been claimed that the pulp mill relies heavily on woodchipping native forests in Tasmania. To what extent is that true?

No. That is not the case. We will be operating both regrowth native forest and plantations, and the company will have, by the middle of 2012, up to about three million tonnes of wood from our own plantations, that have be planted ten or fifteen years ago.

So there’s no intention to access previously unlogged forests, or forests which are currently locked away for various reasons?

That is correct. We are not going to be logging any [of those] areas. We have actually taken a lesser contract for volume with the government than we have had in the last five years. With the start of the pulp mill, the new contracts are for a lesser volume than we’ve had in the past.

BY DAVE WILLIAMS

PHOTO BY ROB BURNETT IMAGES

Are you looking to increase the amount of woodchipping in general?

No, we’re not intending to increase woodchip from native forest in the future; we are reducing native forest, and increasing plantation chipping.

The amount of eucalypt and pine plantations that you showed me, which are to supply the pulp mill, is impressive from the air. But what is the quantity of woodchips that the pulp mill will require annually – initially, at least?

In the first three years, it will be in the vicinity of about 2.5 million tonnes, climbing to up to 3.4.

And by 2012, Gunns will most certainly be able to have a pulp mill that’s running on plantation forestry. But the government will want to sell their regrowth wood as well, and we will be obligated to take some of that. That’s because of employment. The government, over the last forty years, have regenerated native forests in Tasmania for the future of Tasmanians. And that’s what they are offering us to cut; what they have regenerated over [that time] from the sawmilling industry. That’s what’s now available for the pulp mill; NOT native old growth forests, but native regrowth forests that the state government has regenerated.

So these are forests that were earmarked for industry use anyway?

Correct.

So how many square kilometers are required to supply the annual tonnage, required by woodchipping?

“

Well, no one takes it out afterwards; it’s in the sea.

But it goes down the river. What about irrigation?

No, this is salt water. What comes over Trevallyn Dam is lost forever. It goes out to sea. This river is not usable by the population. No drinking water can come out of it, because it’s salt water, and its not clean enough, because Launceston puts all of it’s municipal waste into the Tamar River.

The water going out to sea from Gunns’ pulp mill will be cleaner than what’s in the Tamar. It has to be, under the guidelines.

It’s been claimed that Bass Straight is like a pond, and it doesn’t flush.

That’s all the opponents saying things that wanting to make a scene; that’s the misinformation.

What evidence do you have that it isn’t true?

Scientists tell us. Scientists know the flow, and what happens in Bass Straight.

I believe there’s a scientist saying exactly the opposite as well.

That is science peddled out by the anti-pulp mill group. What about the [other] scientists? Is a scientist going to tell a lie?

People will say, “Well, that scientist works for Gunns…”

If people say that, then it really says that no one’s got any credibility; you or I haven’t got any credibility.

I ’ m a Ta s m a n i a n . . . W h y

am I going to walk away?

You can’t talk in square kilometers; you can only talk in hectares. We want to have, planted for the pulp mill, a hundred and fifty thousand hectares, which are virtually there now.

That’s enough?

That’s enough! We will not need any more!

It’s also been claimed that the pulp mill will have a negative impact on the water catchments area for Launceston, and therefore on the quality of drinking water for Launceston. How do you respond to that?

That is an incorrect statement. The pulp mill won’t have any affect on any water quality, or any drinking water quality at all. The pulp mill will be taking 1% of the flow of the Trevallyn Dam, which goes into the river and joins salt water before going out to sea. The pulp mill will be taking 1% of that water.

It’s been claimed that the pulp mill will use the amount of water that is used by the population of Burnie, Devonport and Launceston combined.

How true is that?

No; the pulp mill will use about twenty-three gigalitres of water a year, which is 1% that flows of Trevallyn Dam per year, which is wasted into the sea... And it’s the last time any Tasmanian’s got a chance to get it. All the municipalities, and all the rivers that flow into Trevallyn – anyone could take that water out before the pulp mill can get it.

What about afterwards?

”

That no one can be believed if they’re working for somebody else?

Yes.

They’re also concerned about the effect of airborne emissions from the pulp mill.

The mill has met its guidelines, and we will have no trouble meeting those guidelines on air emissions, or the mill won’t get built.

Launceston has notoriously poor air quality…

But the pulp mill will not be effecting Launceston’s poor air quality, because the flow of the air from the pulp mill won’t be coming back to Launceston – it goes the other way. And if it does, the air quality for the pulp mill is meeting the guidelines, so it’s not going to effect the air in Launceston.

I understand that part of the system you’re developing to cope with airborne emissions is the NCG incinerator.

It’s scientifically designed and proven technology in Europe.

How will the pulp mill cope in a power failure?

The pulp mill can “cope” with a (state) power failure – the pulp mill generates its own power, and is connected to the grid, and also has diesel power to back it up.

There are also claims that the pulp mill will negatively effect Tasmania’s “green” image, therefore reducing jobs in agriculture, viticulture and tourism. How do you address that?

Well I don’t have to address that; that’s not my issue, because the pulp mill won’t do that. I’m in viticulture; I’m the biggest viticulture business in Tasmania … The tourism industry will not be effected – it will be a tourist attraction, and it will be made as a tourist attraction.

How will it be made as a tourist attraction?

We will be having walkways through the pulp mill for everyone to walk through and see on tours.

I believe that, initially, Gunns’ proposal for the pulp mill was one that was chlorine-free. To what extent is that correct?

That is not correct. We did not have any decisions made until the engineers and the scientists told us what was the most suitable mill to build in Tasmania, for environmental reasons.

What reasons were given to make it better to use a chlorine process?

Because there’s no difference between a chlorineprocessed mill, and a non-chlorine [mill]. The [chlorine-processed] mill is far better, pollutionwise, than a non-chlorine mill.

What about the production of fluorines and dioxins as waste products?

This mill meets the guidelines.

To what extent would you say that businesses have a social or moral responsibility that goes further than the legal requirements that are placed upon them by the authorities?

No, I think businesses have to meet the guidelines as set out by the legal authorities. The moral, social, economic standard is always set by government. Asking businesses to go greater than that is unacceptable when the guidelines are put into operations. It’s the same as every other country in the world. And if Tasmania – or Australia – doesn’t meet the competition of the world, and adopt international standards, we will never, ever have anything here for our people.

Talking about international competition, how will the Tasmanian pulp mill compete against similar operations in countries where wages are much lower, such as China or Brazil?

Those people who run the pulp mills in China and Brazil use international labour, because it’s such a technical mill; very much designed on science.

The companies that have mills in those countries also use European labour very much.

If the sums stack up, and it’s profitable – which is obviously the goal for Gunns – I can see how the pulp mill will work for Gunns, and people who work for Gunns, and shareholders in it. But in an overall view, how would you say the pulp mill is good for Tasmania?

Good question. The pulp mill will put about $600,000,000, outside Gunns and its shareholders, into Tasmania. And that’s where Tasmanians will all be at the benefit of it; restaurants, carpenters, labourers, taxes… All that flows back to the general public. The mill itself will obviously use all Tasmanian services; that will pay for them as well. All of Tasmania is going to benefit out of this mill. Some economists say that the Tasmania will benefit more from this mill than any other project Tasmania’s ever had.

NEXT EDITION THE GREENS’ SENATOR CHRISTINE MILNE PAGE 17

Tasmania has more land in conservation reserves than any other Australian state Tasmania protects its forests at four and a half times the benchmark set by the World Conservation Union…

45% of Tasmania’s 3.12 million hectares of forest cover is reserved 98% of old growth in public forests is protected 97% of Tasmania’s wilderness is reserved

…Tasmania is a world leader in conservation Land reserved pre 1981

Land reserved by 2005

913,000 hectares or 13% of the state

2.9 million hectares or 42% of the state

Source: Regional Forest Agreement - RPDC Background - Tasmania Community Forest Agreement.

DIGITAL

CANIS CANEM EDIT PS2

BY CHRIS RATTRAY

SKULLCANDY SKULLCRUSHERS

BY TOM WILSON

Jimmy Hopkins; the name alone is enough to instil a sense of dread in the most hardened of teachers.

As this misunderstood misfit, expelled from every other school in the district, you will participate in Jimmy’s final chance to get an education at the most notorious school of all, Bullworth Academy.

It’s a dog-eat-dog world at Bullworth and Jimmy’s going to find out what it really takes to make his mark. He’ll have to master such skills as hiding in bins, picking flowers to give to girls, and maybe give a wedgie or two to those who deserve it…and perhaps he’ll even get to go to the local carnival on a date as he rises through the social spheres.

Does that sound like the most violent game ever made? Is that something you’d stop your child from watching on television? Maybe you’ve heard of this game in the media, demonised under the name of “Bully”. No matter what the wowsers out there think, “Canis Canem Edit” from Rockstar Games is a lot more fun; deeper than expected and a whole lot less a “schoolyard massacre simulator” than your local moral watchdogs would have you believe.

As you’d expect from the makers of the Grand Theft Auto series, “Canis Canem Edit” (Latin for “bloody stupid name change”), literally offers a whole world to explore. The school itself is a minor miracle to behold but as time progresses,

you’ll be able to explore the surrounding towns of Bullworth and New Coventry, and you’ll meet the many different residents of the district; all of whom have different agendas and personalities, from the greasers hanging out on the corners downtown, to the hobos in the alleyways.

There is as much joy to be had in this game exploring the area as there is in engaging in missions, or even going to class! Yes, that’s right, class attendance is compulsory, and successful completion of classes rewards Jimmy with such things as better communication skills (English) or the ability to create nuisance items like stink bombs (Chemistry).

Sure, there are fisticuffs to be indulged in at times, but drama is conflict and there’s nothing worse on display here than you’d see at 5:30pm on the ABC. Hell, Harry bloody Potter is more violent than this.

I’ve already run over my word limit in this review and have barely touched the surface of this game. “Canis Canem Edit” is an absolute wonder and terrifically fun. Chock full of cheeky humour, characters both funny and tragic, and wickedly silly missions (the ultimate prank at Halloween being a particular fave…it involves dog poo!), this game is a special experience that will last many dozens of hours.

Forget the pitchfork brigade’s ridiculous posturing and purchase this game – get to know Jimmy and Bullworth Academy! Perhaps you’ll learn something as well. You’ll never have more fun without actually going back to school.

These are something else. Headphones with subwoofers built into each ear. Oh…my…god.

music. Gaming is great; you get the full bass experience while the girlfriend’s asleep!

If you push the subs anywhere above 20%, the “boom” effect clouds over the treble too much – oh well, I’ve never liked hearing guitar solos, and with these, I don’t have to. Still, you crank these puppies, and they literally vibrate on your head.

Talk about noise cancellation; my boss had to actually stand beside my chair for me to hear him shouting about taking them off and getting some work done! As far as music goes, these babies passed the Meshuggah test with flying colours [If you don’t know who Meshuggah are, please reassess your lifestyle choice].

The cord is nice and long, with a handy clip on the doof unit. On the negative side, I have a large head, so the fit isn’t perfect – a bit more extension would be nice. Because of the elaborate nature of the head band – and the pivots of each headphone – they can be a little annoying to put on. It literally feels like they’ve been made for the heads of twelve-year-olds.

Oh well.

Speech has a lot more body, and with built-in subwoofers, they almost make me enjoy dance

These aren’t for everyone, but frankly, I’m glad I grabbed them when I did.

8/10

January Gigs

5 Volcano 4000s out of 5.

THURSDAY 4TH Bridget Pross Anita George Fink THURSDAY 11TH Simone Taylor Samuel Bester Hannah THURSDAY 18TH Atalana Heale Simon Ditcham Timbre Band THURSDAY 25TH Cait Vertigan Michael Clennett Nathan Weldon & The Two Timers

ACOUSTIC ORIGINALS

Every Thursday, From 9pm

THURSDAY 1ST FEBRUARY Atalana Heale Simon Ditcham Fink

21 SALAMANCA PLACE. HOBART. T: 03 63 6226 1119 W: WWW.IRISHMURPHYS.COM.AU

PAGE 19

SPOTLIGHT 7%%+%.$ 0!33%3 ./7 /.

3!,%

HOME

&5,, ,).% 50 /54 *!.

REVIEW BY CLAIRE BARKER Stompin Youth Dance Company’s production of “Home� was staged in the vast expanse that is Robert’s Woolshed on the first weekend of December.

The building is a huge shell, without rooms or walls; just an acre of roofed space, which functions just two days a year as the auction house for Tassie wool. The space was completely lined with clean white cubes of cardboard. A cardboard foyer was constructed; this is where you were given a number and sent through into the waiting area, where you could drink, eat, lounge around on milk crates or chat to the diners who were seated around the pineapple dining table, eating a kitsch 70s meal; the type that involves meat and fruit.

Numbers were called and, group by group, we were assembled into the loading bay. Successively, each group followed each other through with about eight-minute intervals. Each group had a mute guiding dancer that took them through the rooms of Stompin’s cardboard home.

Issue-based dance routines are strange things; blank faces and urgently communicating limbs and body movements can be difficult to read.

And as much as the emphasis was upon being at “home�, the experience of the performance was alienating and discomforting. However the spectacle was entertaining, thought-provoking, and gorgeous.

-ARCH "OTANIC 0ARK !$%,!)$% %":4 "/% /*()54 0' )&"7&/-: .64*$

&%!452).'

Each room’s music, choreography, costumes and dÊcor was inspired by different issues to do with having a home. The living room danced around the idea of commodity being a lifestyle; how to buy and live in ultimate luxury. According to the attitudes permeating from the dancers, a life like this is very clean, vacant, boring, television-orientated and uninspired (and everyone is nonchalant and wears velour tracksuits). Not the best start to the ride, however it was a sound analysis of materialism.

Things got a bit crazy in the dining room, seated around a large dining table with the five dancers; the audience apparently taking part in a dinner

party. The dĂŠcor was retro, complete with Bob Dylan, Pink Floyd and Jimi Hendrix posters, kitsch art deco ceramic ornaments, a ukulele and a record player.

The soundtrack was an erratic mix of songs that changed and contrasted every twenty seconds, think “My Sharona� cut with “Hey Little Sister�, or RATM tripping into “I See You Baby, Shakin’ That Ass�. This section of “Home� was definitely a hit. It was fun and giving, and had to do with blindly grasping tradition and clashing with others.

The kitchen was cute but boring; irritating music and fifties-style dancing, so it made sense to follow the guiding dancer into the bathroom where she has a mental breakdown in the shower. This room was about fear of the outside world, but I think it was more about anxiety and frustration caused by stupid parents. In the bathroom you sat on toilets or upside down bathtubs and listened to headphones that played eerie water drip music.

The final room was open and demolished; dancers were in the headlights several meters in front of us. In this room we were given portable headsets.

The bedroom offered a nice chronology, in that it addressed the idea of starting again, rebuilding from instinct after having lost everything (i.e. the aftermath of the bathroom depression). Dressed in flannies and rags, the dancers in this room looked destitute and danced with instinctual morbid urgency, and punctuated the fact that this was definitely a more of a clinical study; a guided tour into the rooms of young adult angst and pursuit rather than a comfortable stay at home.

SPOTLIGHT

IS THEATRE -!2):!

0/245'!, !$%,!)$% 02%-)%2%

7ITH HER STRIKING LOOKS AND ACHINGLY BEAUTIFUL VOICE THE ELEGANT AND PASSIONATE -ARIZA IS A MOST COMPELLING YOUNG STAR

3!,)& +%)4! -!(/4%,,! ,),! $/7.3 ,)/2 -%8)#/ 53! !5342!,)!

-!,) 15%%.3 2%452.).' !&4%2 9%!23 /.% 3(/7 /.,9

3/54( !&2)#!

2%452.).' !&4%2 9%!23

4HE @'OLDEN 6OICE OF !FRICA 3ALIF +EITA S LUSH AND UPBEAT MUSIC IS A BEWITCHING BLEND OF 7EST !FRICAN

%UROPEAN AND ,ATIN !MERICAN INmUENCES

4HIS CHARISMATIC TRIO OF WOMEN THAT IS THE CORE OF 4HE -AHOTELLA 1UEENS BEGAN TO DEVELOP THEIR EXPLOSIVE BRAND OF @TOWNSHIP MUSIC IN THE S

!3(! "(/3,% +2/./3 15!24%4 75 -!.

&%-) +54) 4(% 0/3)4)6% &/2#%

).$)! 53! #().! !5342!,)!.

02%-)%2% /.% 3(/7 /.,9

.)'%2)! %8#,53)6% 4/ 7/-!$ELAIDE /.% 3(/7 /.,9

(IS LIVE SHOWS ARE 4HE LEGENDARY "HOSLE IS THE MOST NOTHING SHORT OF RECORDED ARTIST IN ELECTRIC PULSING WITH HARD HITTING THE WORLD SHE JOINS THE ASTOUNDING LYRICS COMPLEX JAZZ FUNK AND DRIVING +RONOS 1UARTET PIPA PLAYER 7U -AN !FRICAN RHYTHMS

",5% +).'

"2/7. !5342!,)! ! BRILLIANT AND ORIGINAL ROOTS REGGAE BAND FOR YOUR HIPS HEART AND HEAD 7INNERS OF !02! S 3ONGWRITING !WARD

!5342!,)!.

02%-)%2%

9OUNG AND GIFTED ,IOR S SOUND IS 7INNER OF THE ,ATIN A ROOTSY MIX OF STYLES WITH A 'RAMMY IN

VOICE CAPABLE OF $OWNS DELIVERS BOTH POWER AND A RICHLY POWERFUL TENDERNESS FUSION OF 3OUTH .ORTH !MERICAN FOLK MUSIC

'/4!.

02/*%#4

“On The Couch With Cecil Brown� is the latest production from Is Theatre, and takes a lighthearted look at love – what it is, and how to get it. The live-theatre show uses a comfortable lounge-room setting much like TV’s “The Kumar’s at Number 42�, with host Rik Goddard thriving in the role as the love-starved, romantically-inept host Cecil Brown.

COUNTRY SOUL AND GOSPEL $ONOVAN IS ONE OF !USTRALIA S FOREMOST INDIGENOUS TALENTS

The question of love and how to find it has mystified both men and women through the ages (and haunted both alike). In light of this, and armed with butcher’s paper, a brown plaid top and black thick-rimmed glasses, Cecil Brown – a charming geek of any description – promises to find all the answers.

With the help of a diverse range of musicians and songwriters, Brown was presented with many interesting theories on what it is that makes the heart “thump�. The guests seated on Cecil’s “Lounge of Love� were Melbourne guitarist Hugh McGinlay, accomplished Tasmanian violinist Jabre Latham, and Simon Vanyai, Taiko drum expert.

The night simmered along, with a tasty mix of music, humour and vibrant discussion led by the quick-witted and entertaining Goddard. The panel of guests was easy-going and talented, and the chemistry between performers and host was often gold.

There is always the risk that comedic live theatre interviews can become tedious or awkward for the guests and audience, as there is not the luxury of editing or added laughs found in television.

However, the light-hearted banter between Cecil and the artists was sharp and fresh, without any major interruptions to the flow of the evening.

PAGE 20

Even though many of the ideas presented to Cecil Brown about love seemed obscure, there was some nice metaphorical discussion between Cecil and Simon Vanyai about melting snow that was as romantic as it was convoluted.

One of the most insightful moments of the night was when guest Hugh McGinlay announced that true love was “sweet-corn-toasted sanga’s�. Before the show, I was blissfully unaware that love could be found in the juicy embrace of a sweet-corn toasted sandwich.

That is a new romantic experience I will have to wrap my lips around.

All of the artists were given an opportunity to showcase their exceptional musical abilities during the show, allowing each a moment to shine individually in the prelude to an impromptu group foray at the end. The night concluded with Cecil inviting a female audience member to join him on the lounge for a cacophony of romance-enticingharmonies created by the three musicians. Cecil pulled out the moves – including a lot of suggestive eyebrow-raising – in an attempt to seduce her, as the music thawed even the frostiest hearts.

$/./6!.

WWW WOMADELAIDE COM AU 6ENUE 4IX

REVIEW BY NICOLE CALABRIA

%--!

&2!.#% !2'%.4).! "!.$ !5342!,)!. !5342!,)!

02%-)%2% ! DIVINE VOICE /.% 3(/7 /.,9 TAILOR MADE FOR

%QUAL PARTS CLASSICAL TANGO

NIGHTCLUB BEATS AND EXTRAORDINARY lLM PROJECTIONS PRESENTED BY SEVEN MUSICIANS $* S AND AN ENIGMATIC SINGER 4HE 'OTAN 0ROJECT ARE THE NEW WAVE OF TANGO CHIC

On The Couch With Cecil Brown

When all is said and done, “On the Couch with Cecil Brown� was a thoroughly enlightening experience.

As Cecil so aptly pointed out, it was probably my last chance to see four grown men in one room talking candidly about “love�. So, like the rest of the audience, I sat back to enjoy the ride and made the most of a great night out.

Under Fire From The Deadly Lasers Of

Horrorscopes

THE SCIENTISTS OF MODERN MUSIC

THE PSYCHO PSYCHIC SCREWS WITH YOUR LIFE

ARIES Your stars don’t say anything this month. That’s because they don’t have mouths. They can’t speak.

BY TOM WILSON

A year ago, if you’d told me there was an electro-rock duo in Tasmania who’s just been offered a record deal, I probably would have feigned interest in my watch before walking away from you as quickly as possible. However, that was before I heard of Hobart’s Scientists Of Modern Music. With a killer EP and contracts being thrust in their faces after a tour of the mainland, things are looking up for the identity-challenged duo…despite getting lost driving a 4WD in Melbourne…

TAURUS Grab the bull by its throbbing velvet horn this month. Thrust gently sideways and your dreams will come true.

GEMINI Your dusty old cabinet of curiosities will be magically opened by an inquisitive passerby this month. Hide the two-headed gimp.

We understand that you’re working on a new EP. What can you tell us about it?

Yes we sure are! It’s a mix of reworked songs from our last EP and a whole bunch of new ones, hopefully with a remix to top it off. We’re trying to show a bit more diversity by including a mixture of styles within electronica.

CANCER You’re gonna get it. HoHo-Ho.

How long have you been working on it, and where have you been doing it? Who is involved in the production?

We’ve been working on it for the last couple of months, just in our studio at home, getting the basics down, then were off to Sydney to finalise the production. Arts Tasmania recently granted us funds to mix and master the EP. Without that funding we wouldn’t be able to produce a quality recording so we are very grateful to have been given this opportunity.

LEO Hungry pussy this month?

Buy some cat food and feed the poor thing instead of splurging on unnecessary items.

When you first spoke to SAUCE, you were both still in school. What are you doing with yourselves now?

We finished school at the end of 2005, convincing one another not to continue with studying – we kept going with our music. We have spent this past year recording and performing in Tassie and across the mainland and it has paid off.

TSOMM seem to be constantly messing around with your identities, particularly in the press. Why is this?

To us our music is the most important thing, so when we’re revealing our identity we like to have a bit of fun with it. We try to depart from the stereotypical mainstream media norms and make an impression at the same time by placing an emphasis on our music rather than our drop dead gorgeous looks.

Punters at past TSOMM gigs have commented on, among other things, “a keyboard shooting out space rays”. As musicians, what are some of the advantages of having an instrument that can fire lasers?

That would explain all the dead bodies… It’s more of a disadvantage for the people in the front. It usually happens when Simon hits the high notes.

If you could fire a deadly laser at any musician, who would it be, and why? And, most importantly, where on their body would you hit them?

James Blunt; shoot him in the voice.

You’ve just done a tour on the mainland. How did it go? What were some of the highs and lows?

It was one of the highlights of the year. We played five shows in Melbourne after three in Tassie.

VIRGO You’re on fire! Your quick wit! Your fast tongue! But mainly your house! Swim in the sea! Shower! Get off the East Coast! Or out of the Inferno!

LIBRA

The most rewarding part for us was to see people appreciating our music in a wider audience; it was heaps of fun. It’s always a high to play on stage, especially when there are new faces and different venues. It was the largest tour we’ve done so far, and we learnt a lot about negotiating with people and driving a 4WD in Melbourne traffic. (It didn’t help much that Cal was reading the road map upside down). We always see packing up afterwards as a bit of a low, but saying that, it’s a great time to talk over the night and re-evaluate ourselves. Overall we loved it and we are looking forward to going back up.

We understand you were offered several record deals. How many contracts were you offered?

Over the past few months we’ve had expressions of interest from a few which took us by surprise!

We don’t like to rush into anything, so we’ve given ourselves a bit of time to look at our options.

How close are you to making a commitment to one of them?

Things are looking promising but we don’t want to preempt anything. We hope it’s in the next few months but we’re making sure that it’ll be right for us.

What plans does TSOMM have for 2007?

We want to cram as much as we can into one year. We’d love to undertake another tour, and head further up the east coast of the main-land once our EP is finished. Increase our contacts by meeting more people and bands and keep our suits clean and pressed. We recently went to Surfers Paradise to play at the Round and Round Festival and we had a ball so we’d love to do a few more festivals throughout 2007. Most of all, we want to keep enjoying what we’re doing, and write music that appeals not only to us, but to everyone.

TSOMM shoot deadly lasers at St David’s Park on January 6th, Curly’s Bar on the 12th, and the Republic on the 13th.

Take the last one out before you put another one in. Don’t double dip!

SCORPIO The party’s almost over.

It’s up to you to stay high (and maybe high) until next time.

SAGITTARIUS You will find yourself in a social predicament this month if you try a slap on the flaps or a whack on the crack instead of a slap on the back.

CAPRICORN You are a nice goat. Thanks.

Always. Lots of love. XXXX. XOXOXO. Kiss-kiss, hug-hug.

Mwah!

HOBART COMEDY FESTIVAL

AQUARIUS Where’s your head at this month? It is usually in the clouds, however, due to global warming, the clouds have disappeared.

PIECES

The Hobart Comedy Festival kicks off at The Venue in Hobart’s Salamanca Arts Centre on January 12th, featuring Adam Hills and a host of local comedians. For more details, visit www.hobartcomedy.com

Wombats are not aquatic marine marsupials. And it is against the law to marry them. All your other dreams will come true this month.

A Great Pub In The Centre of Launceston Budget/Backpacker 124 George St Launceston (03) 6331 4015

Accomodation Rates from $15 per person

Live Entertainment 4 Nights A Week

Our Customers Say We Have The Best Meals In Town PAGE 21

SOCIAL PICS SIROCCOS

Fave Band/DJ: Hilltop Hoods

Fave Band/DJ: Dave Matthews Band

Emillie & Nichole

JASON - 22

DEANNE -20

(Burnie)

What would be your dream come true?

To be happy 4eva

What’s you fave piece of technology?

Mobile.

JANUARY PERFORMANCES THURSDAY 4TH

What would be your dream come true?

Not to have to work.

What’s your worst nightmare?

Realising how much I’m in debt.

What’s your worst nightmare?

That I got fat and ugly.

254 Mount St Upper Burnie 7320

CLOSED

FRIDAY 5TH

What’s you fave piece of technology?

DVD Cam-corder

CLOSED

SATURDAY 6TH

SHINDIG 11

featuring Jesus & the Jedi , Jacob Boote 7.00pm, $5 cover charge

Alyssa & Russo

TOM - 19

TALI - 22

THURSDAY 11TH

Fave Band/DJ: Franz Ferdinand.

Fave Band/DJ: Tupac.

What would be your dream come true?

Win $1 million.

What would be your dream come true?

Retiring.

What’s your worst nightmare?

Dying.

What’s your worst nightmare?

Losing my penis.

What’s you fave piece of technology? i-pod

What’s you fave piece of technology?

Sub-woofer (Doof! Doof!)

KATE MEEHAN AND SKIP LANDY Queen of Australian Blues and King of Boogie Woogie Piano 8.00pm, cover charge $15 ($10 for Jazz Action Society /Arts Council members)

FRIDAY 12TH

NEIL GIBSON Folk 'n Blues

7.00pm, $5 cover charge

SATURDAY 13TH

THE ANDY FARRELL TRIO 7.00pm, $5 cover charge

Bullfrog & Lisa

THURSDAY 18TH

VIKTOR ZAPPNER TRIO Andy Farrell from Burnie on tenor sax and vocals 8.00pm, $10 cover charge FRIDAY 19TH

NEIL GIBSON Folk 'n Blues

7.00pm, $5 cover charge

THURSDAY 25TH

Alana & Callan

VIKTOR ZAPPNER TRIO

featuring John Broadby from Hobart on tenor sax and clarinet 8.00pm, $5 cover charge

FRIDAY 26TH

CLOSED

Jason & Stacey PAGE 22

To be continued ...

8; ?D<EHC;:

WXekj j^[ <KJKH; E< OEKH IJ7J; WdZ j^[ [dl_hedc[djWb _iik[i 7<<;9J?D= OEKH FB7D;J :_Z oek adem j^Wj _\ j^[ fhefei[Z fkbf c_bb ]e[i W^[WZ _d JWicWd_W _j m_bb ^Wl[ fWii[Z j^[ ceij ijh_d][dj ]k_Z[b_d[i _d j^[ mehbZ5 L]ZgZ ndj XVc \d id \Zi jcW^VhZY ^c[dgbVi^dc dc i]^h ide^X/

I]Z GZhdjgXZ EaVcc^c\ VcY 9ZkZadebZci 8dbb^hh^dc mmm$hfZY$jWi$]el$Wk VcY k^h^i egd_ZXih d[ hiViZ h^\c^ÒXVcXZ

I]Z IVhbVc^Vc <dkZgcbZcih Ejae B^aa IVh` ;dgXZ mmm$fkbfc_bb$jWi$]el$Wk

;dg bdgZ ^c[dgbVi^dc/

I]Z egdedcZciÉh lZWh^iZ mmm$]kddifkbfc_bb$Yec$Wk

?JÊI OEKH <KJKH; C7A; 7D ?D<EHC;: :;9?I?ED E]/ %( +' ' ) &%( ( l l l#[^ViVh#Xdb#Vj

F orest I ndustries A ssociation of T asmania

DVD BEHIND CRIMSON EYES

BEXTA

A REVELATION FOR DESPAIR

MIXOLOGY 9

LOW BUDGET

One of Australia’s finest (in more than one aspect) hard dance/trance DJs, Bexta has released series nine to her “Mixology” collection. With her first to the series released back in 2000, she has been very successful, hence previously sitting in 8th spot on the Aria charts for an independent album, whilst earning a massive reputation globally.

I’m pretty sure I’m not the only person in Tasmania who waited a long time for this release. Coming at you like a wrecking ball is Behind Crimson Eyes with their debut album “A Revelation for Despair”. Of course, with a title like that, you cannot be expecting rainbows and lollipops, but you will find some truly kick-ass riffage.

As far as hip-hop goes, Melbourne city is Australia’s equivilant of New York, and from such an enormous, well-evolved scene also comes an abundance of amazing artists being pushed under by simply wellpromoted artists.

With two discs of bangin’ tunes, CD-1 (“Sunrise”) is a mixture of breaks, electro and chill, targeted for the kicking back in the afternoons before a massive night. Consisting of many up-and-coming Aussie local producers/artists, “Sunrise” starts extremely soft, before smacking into Don Diablo’s “Down the Drain”, followed by a handful of sweet breaks; especially track four’s “Twisted Emotion” by the likes of Hyper. As the CD progresses, it gets tougher with some aggressive electro tracks.

The follow up to the two EPs that were released in 2005 on Boomtown Records, BCE’s their Roadrunner debut starts off with a blast with the opening track “Sex Lies and Homicide”. The lyrics and themes on this record are a lot deeper and darker than previous releases, which really make you question what has happened in vocalist Josh’s life in the past (listen and read the lyrics to track two “Children of the Broken Hearted”).

Low Budget had been running under the radar for some time, until last year when they burst onto the scene with a little mixtape which, although all created in-house, managed to quickly make its way onto Triple J radio. nd since then, DJ Polarity and MC Genetik have been super busy, supporting international acts as such Edan, PUTS and Ugly Duckling, but, most importantly, working on this fantastic new album ‘Magnasound’.

The best track in my opinion would be the first single from the album “Shakedown”, or one of the closing tracks “Dial H for Whore”. This album contains at least one track for everyone; it ranges from rock to emo to metal and, at times, even top 40 pop. I think one simple line from the song “Shakedown” sums up this album perfectly: “Don’t fuck with us”.

Magnasound is an outstanding collection of suave instrumentals and rabid lyricism, which makes this release stand out above the rest like a sore testicle.

CD-2 (“Sunset”) shows what BeXta is all about – hard, banging tracks! With four tracks with her imprint on them, it’s a definite must-have for you hard-house/trance junkies. Track four, “Seven Days, One Week” by DJ Machine is a definite stand-out on the CD. There are many defying tracks, but not being a fan of bangin’, selecting the right ones is not my forte.

Another great release from BeXta check it out

One of the best albums of last year; in my top 10 for sure.

10/10

7/10

INCUBUS

CRAIG OBEY

LIGHT GRENADES

THE ELEKTRIK FORCE Craig Obey. Haven’t heard of his name? Think of that remix of “Under The Milky Way” by The Church, Yes that’s right; that’s him smashing the charts and getting his song pumping all over compilation CDs. With over fifteen years of experience under his belt and many DJ residencies around Sydney, Melbourne and Brisbane, he has been supporting many big acts, such as Roger Sanchez, Fatboy Slim, Deep Dish, Dimitri From Paris, David Morales, Norman Jay, Eric Morrillo, Basement Jaxx, Prodigy, Superfunk, Barbara Tucker and a shitload more.

Now that I’ve talked him up like a hero to dance music… He’s released his new CD named “Elektrik Force”. With a mixture of tracks offering house, vocal house, electro house and funky breaks, he shows his stylistic diversity, and he has obviously spent a couple of years producing these tracks, featuring artists such as Yogi, Joe Camilleri, Chance, Abela, Rodney O. and Melanie George. He knows how to produce some great, tight-sounding tunes.

Featured tracks of the CD would be “Under The Milky Way”, “Feet” – with a great, happy vibe mixed with an electro-kicking bass line, “It’s All About Electro” featuring Joe Camillerri, and also “Hip-Ma-Tize-Me” featuring Chance, which has also been huge on the charts internationally.

A well-produced CD, well worth the listen with some great tracks.

8/10

This seems to the case with me and Incubus.

Remembering back to good old March 2002 when Charles Touber bought them down here for Gone South, and them winning over the whole crowd even though ¾ of the people there were only interested in Grinspoon or Killing Heidi. Four years on and two albums later, they are back with their strongest album I think since their late 90’s hit “Science”.

This album is definitely a step in a new direction for Incubus. In fact, I would be overjoyed if Incubus continued in this direction. The introduction of keys become apparent on songs such as “Quicksand” and “Dig”, and definitely adds a nice touch. DJ Kilmore does more then just sound effects and scratches; we hear some real piano, which really makes the song “Paper Shoes”.

Some of the songwriting is excellent as well. Songs like “Anna Molly” and “Paper Shoes” showcase Incubus’ talent in writing both hard-rocking and soft, ballad-style songs. “Light Grenades” takes us back to the “Science” days; up-tempo and spontaneous. One of the better releases to finish off 2006 with.

7/10

Review By Ryan Cooke.

Review By Patrick Duke

ART OF WAR

WAGING WAR (CHAPTER TWO)

VOLUME 2

9/10

MAYDAY

I’m going to be different and start off with CD-2 mixed up by Sharem Jey. With a mixture of pops, bleeps and techno/minimal madness with a twisted edge, it both truly defies and truly depicts the style of Sharem Jey. As the mix weaves in between the sheets of hazy synths – blended with sheer 8-bit bass lines – it eventually evolves into a something deeper and strangely different. Not being a fan of much minimal, this certainly has changed my opinion towards the style. Funnily enough, my favourite track is his own track twelve, “When The Dogs Bite”, remixed by LouLou Players.

CD-1, Ben Morris, is definitely the pick of the two.

With a chunky, clubby electro edge – with a mixture of some more commercial tracks chucked into the mix – Ben throws you through one hell of mix.

Starting off nice and hard to get your groove boots warmed up, the progressions comes down to rise with a big bang. Tracks worth the mention would have to be the tough “Feels Like Love” King Unique Remix, “Killer Application” by Melente, “Star Baby” remixed by Axwell and, for you mainstream junkies, “Yeah Yeah”, “He Doesn’t Love You”, “Put Your Hands Up For Detroit” and more.

Review By Patrick Duke

“Waging War” is an ear bashing, filled with menacing lyrics and heavy, synth-based beats.

I don’t usually appreciate crews who constantly focus on (and rarely stray from) fairly common life struggles, but I think these guys – backed with a seemingly, genuine passion for what they’re saying and a way with words – are a pretty interesting and very unique fixture of the Oz hip-hop scene.

The reminiscent “Can’t Hold Me Back” would be my favourite track from this album, which features a beat that captures the vibe and passion of the lyrics really well.

To be honest, lately the group sound like an Australian version of G-Unit in many aspects. But the main difference is that Art of War actually write interesting lyrics, and I really haven’t heard this kind of hip-hop created this well by anyone in Oz so far.

7/10

Review By Ryan Farrington

Monkey Dust Episode 1 & 2

First off, I’m going to insist that I’m all for black humour; I have fond memories of “Aaagh! It’s The Mr Hell Show”, and when this was billed as “what people go to when they’ve graduated from “South Park”, I was certainly eager to see it. But after sitting through two episodes of this animated sketch show – airing on ABC 2 – I felt badly in need of a penicillin shot.

When you take the “humour” out of “black humour”, what remains? In the case of “Monkey Dust”, you get a show so obsessed with nihilism it seems to decay in front of your eyes (especially true when you look at the shoddy nature of the animation) If there is something funny about a reoccurring sketch of a flea-ridden elderly pedophile trying to coerce young girls in chat rooms, I must have missed it. And I’m obviously not sophisticated enough to split my sides at a depressed man being harassed by his son to the point where he commits suicide in every episode. I’m not saying that they’ve gone too far (though I’m sure a lot of people will disagree), but I really don’t want to meet the kind of people who would find this funny. Even when they have a situation that could produce a few chuckles – such as a team of publicists trying to give God an image makeover – they simply fuck it up.

I almost feel bad attacking what is obviously a low-budget production. Please note the word “almost”. I’m not saying this kind of subject matter is somehow “invalid” purely because it disturbed me. But I am saying: see this at your own risk, and don’t say I didn’t warn you.

0/10

Miami hip-hop duo Mayday (producer Plex Luthor and MC Bernbiz) have put together this interesting fourteen-track LP, featuring some great musicians, from the soulful vocals of Cee-Lo Green (Gnarls Barkley) on “Groundhog Day” to the beatboxing on ‘In the VIP’ from Killa Kela.

The misty ballad “Nothin”, featuring Devin the Dude, is a soulful track about change and lack of motivation, blending a mellow beat with slightly inconsistent flows that remind me of artists like Eyedea and Abilities.

Production on this album is like a mixture of abstract Mekalek beats with intellectual lyrics similar to those of Chase Infinite, which makes for an interesting collaboration.

Although this album has all the elements of a “good” album, it doesn’t seem to emerge above the others to become a “great” album.

I love the fact that intellectual hip-hop is starting to become accepted in the mainstream market, and it’s a great time for underground hip-hop artists who are finally emerging into the public eye, but I think the money used to push this album could have been much better spent on something that’s stretching boundaries a little further.

I like the way these guys seem to change their style a little every track though, and I’d say this album would be great for background music at a party.

2006 has been a huge year for hip-hop, even more so for Australian hip-hop, and with the abundance of great releases, we’ve been seeing more and more diversity from this (relatively young) genre.

Art of War have been slowly simmering beneath the surface of Oz hip-hop for years with their rough, commercially-unfriendly style, but at the end of 2006, these three, fairly regular blokes from Melbourne are just now receiving their well-deserved respect and appreciation for their individual blend of loudmouth lyrics and instrumentals.

Review By Ryan Farrington

MAYDAY

6/10

Kink – an existence born in Sydney and now spreading internationally after the very successful release of “Volume 1” – now have the second volume, offering more punch and flavour from two well known guys in the industry; Aussie Ben Morris, and, from the land of Germany, Sharem Jey.

PAGE 14

On the production side, this album is reaching new heights in Aus hip hop and I would have to say that these are some of the best beats I’ve heard from any Oz beat-maker all year.“ Magnasound” is a wellrounded album; from the groovy (and my personal favourite) “Speak to Your Mind”, to the thoughtprovoking “One in a Pram”, there’s no denying Low Budget are going places. Genetik has a cocky, punchline driven rhyme style, whereas Polarity brings the luscious, jazzy vibes, which makes for an interesting mixture. But it really does work, and I for one will be keeping my eye out for anything to do with Low Budget from now on.

Two years is a long time in the music industry these days; a lot of stuff comes and goes, and unless you’re in the face of people all the time you tend to be forgotten.

KINK

9/10

Review by Ryan Cooke

Review By Patrick Duke

MAGNASOUND

Review By Ryan Farrington

PETE ROCK

UNDERGROUND CLASSICS Now before you Pete Rock fiends get too excited, I should mention that this is a “best of” album compiled by Amir Abdullah (of Kon & Amir). But for those who haven’t heard his production before, this is a great introduction to the sheer brilliance that is Pete Rock. Listening to this album is a walk down familiarity lane, being that almost every one of these beats has most likely been used for mixtapes by one of your favourite hip-hop artists.I love how consistent Pete Rock is with the quality of his beats; he just doesn’t seem to make bad decisions about which beats to release and which to keep aside.

Listening to this compilation takes me back to the vibes of laid-back legends Pharcyde, De La Soul and Tribe Called Quest, and gives you a bit of an idea of what hip-hop was like before artists and labels started taking the market a little too seriously. The album features the likes of Edo G, The UN, INI, Grap Luva, Snatcha and of course Pete’s former partner in rhyme, CL Smooth on “Back on the Block”.A great collection of Pete Rock classics for those who aren’t familiar with his production, but if you’re heavily into your hip-hop, it’s unlikely you’ve not heard everything on this album.

8/10

Review By Ryan Farrington

Review By Tom Wilson

Slipknot - Voliminal: Inside The Nine

It’s fair to say no one saw this coming. “Voliminal” is avant garde filmmaking meets the Pantera Home Videos.

Before the “film” even begins, a series of “false starts” toy with the viewer’s expectations of what they’re about to watch and, ultimately, of how a DVD should work. There is no copyright warning.

There is no “menu”. The eighty-minute film is unable to be paused or resumed from a stop point. That one of the biggest metal bands on the planet could take an idea this far is downright ballsy.

It captures the profane, the mundane and the absolutely astonishing; from a close-up of a toilet overflowing to a bravura sequence where the camera is mounted on Joey Jordinson’s drum riser as it tilts and rotates – his hanging hair our only orientation through his three-sixtydegree spin.

The cameras show the world through a lens of nihilism. The disquieting jump-cuts and blurs are as jarring as they are ultimately metaphoric; as if the band have scratched away at what others might see to reveal the darkness encroaching behind it. That it was created by parties in and around the band only strengthens it. Make no mistake; this is Slipknot cranking up the contrast to show the grittiness that is their world, and the darkness shown is uniquely theirs.

The second half of the package contains all the “Volume 3” music videos, as well as some candid interviews with the band; unmasked and uncensored. But it’s the never-officially-released video for “Vermillion Pt. 2” that astonishes; depicting an unconscious (dead?) woman drifting across a sun-burnt field like a plastic bag in the wind.

A jarring mélange of camcorder footage from recording “Volume 3” and bringing it to the masses from South Korea to Australia, “Voliminal” plays hopscotch on the lines dividing documentary and art. That it was done at all is one thing; that it was designed and orchestrated by percussionist Shawn Crahan himself is something else entirely.

This is hands-down the best music DVD of 2006.

End of story.

10/10

Review By Tom Wilson